Spacemen 3 - Knowledge

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other quit. Coerced by the attraction of his portion of the Dedicated advance, Kember signed it. Mattock claims Kember attacked Pierce in the street the next morning. At the beginning of 1990, Kember and Pierce attended the London offices of Dedicated separately to sign the record contract. A few days later, at a dinner (at the Paper Tiger Chinese restaurant in Lutterworth, Leicestershire) with Dedicated executives, Kember and Pierce were cordial with the other guests but didn't talk with one another. The pretence was kept up until the end; Palmer did not inform Dedicated about the band breaking up until March.

2269:, comprised alternate mixes of the original album tracks together with previously unreleased alternate versions, demos and covers (e.g. The Spades' "We Sell Soul" and The Troggs' "I Want You") from the same studio sessions. Kember's liner notes explain that the alternative mixes represent the more multi-layered versions which he and Pierce agreed not to use because they would be unable to satisfactorily reproduce their sound live. 89: 348:, Kent. This prompted Bain and Morris to leave and join a new local band, The Push, being formed by Gavin Wissen. Kember and Pierce recruited a replacement drummer, Nicholas "Natty" Brooker. They continued without a bassist and Pierce would regularly return to Rugby for rehearsals. In early 1984, they only performed at a few local, low-key venues. Still a trio, they changed their name to Spacemen 3. Kember explained: 1230:, had been ongoing for several months. The poor intra-band relations had remained secret for the sake of outward appearance. By October 1989, the latest offer from Dedicated was a five-album, multimillion-dollar deal, with a £60,000 advance. Palmer had expended £15,000 on legal fees, and because he had managed to negotiate out the standard Leaving Member Clause, Kember and Pierce were in a ' 25: 2250:, was given a special, 10th-anniversary re-release. This official double disc release comprised all the original recordings together with previously unreleased alternate versions, demos and covers (e.g. The Perfect Disaster's "Girl on Fire" and The Troggs' "Anyway That You Want Me") from the same studio sessions. This re-release has been described as the "definitive" version of the 745:. It was after this gig that a confrontation occurred between Kember, Pierce and his girlfriend Kate Radley. Tired of Radley's persistent presence around the band of late – at recording sessions, touring and backstage at gigs – Kember enforced an agreed 'no girls on the bus' policy and barred Radley from boarding the tour van, leaving Pierce and Radley to find their own way home. 974:, an extraordinary record, is the last thing we expected. Spacemen 3 have taken a courageous gamble in giving us this hymnal hologram instead of rocking out. They've done guitars before. Their earlier records are great. But this one is a vortex of vacuums, a mirage, a hallucinatory hypnosis, and as such is wilfully indulgent, defiantly grandiose... a major coup. 1547:

artwork. Will Carruthers said of the event, "This is as close as you'll get to a Spacemen 3 reunion, trust me." The participants were: Peter Kember (keyboard/guitar/vocals); Will Carruthers (bass); Jonny Mattock (drums); Mark Refoy (guitar); Jason Holt (guitarist from Kember's touring Spectrum band); and guest appearances from

492:, at the studios of Bob Lamb in the King's Heath area of Birmingham. With a recording budget of less than £1,000, they completed the album in five days, with the last two days dedicated to mixing. Attempts at recording the title song "Walkin' with Jesus (Sound of Confusion)" were unsuccessful and abandoned. 1154:, had been recruited at the beginning of summer 1989, to play on later live dates and work on the next album. Refoy had been a friend of the band for several years, and had contributed to Kember's solo album. Refoy made his first live performance with Spacemen 3 at their Rugby 'homecoming' gig on 20 July. 1294:

material. His indecision and constant remixing was prolonging the recording of the album. Gerald Palmer was still funding the studio time, and warned Kember to finish. Eventually, intolerant of any more delays, Palmer attended VHF Studios. He seized Kember's tapes, carrying out a previous threat, and

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Also in January, Pierce was developing ideas for forming a new band or side project of his own. He invited Spacemen 3 compatriots, Refoy, Carruthers and Mattock, to jam and rehearse with him at a small church hall and his flat. Initially it was informal, but this was the origin of Pierce's Spacemen 3

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was completed in September 1987 and released the same month. Kember described it as "kind of a concept album, it's about our better and worse experiences with drugs". Produced by Kember and Pierce, they agreed to restrict the amount of guitar overdubs in order that it would be easier to replicate the

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By summer 1985, Spacemen 3 were headlining at The Black Lion and becoming one of the biggest local bands. Around this time they started to co-host a weekly club night together with another local band, Gavin Wissen's 'The Cogs of Tyme'. 'The Reverberation Club', as it was called, was held at The Blitz

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The "3" came about completely by mistake. We did a poster which was just for The Spacemen, which we were for a while. But it was "The" Spacemen and I hated that, it sounded like a 50s rock 'n' roll group – that's all very well, but we didn't want to be imagined as…one of those surf bands. So we stuck

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joined on bass. Morris and Bain had previously played together in a band called Noise on Independent Street. Pierce handled lead vocal duties. Now a 4-piece, the band originally adopted the name The Spacemen. Their first live performances occurred around winter 1982/83, playing at a party and then at

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in autumn 1982, both aged 16, and became close friends. Pierce was in a band called Indian Scalp, but he left them near the end of 1982 to collaborate with Kember. The two guitarists recruited drummer Tim Morris, who played with a couple of other bands and had a rehearsal space at his parental home,

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Afterwards, the two were now estranged and working completely separately. They agreed to have separate sides of the album for their own songs, all of which they had written and composed individually. The other three band members – Carruthers, Mattock and Refoy – who all went on to join Spiritualized

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At the beginning of September 1989, Spacemen 3 were about to undertake a substantial tour of the United States. The tour schedule had been finalised and they were due to be in America for the rest of the year, playing about 50 gigs. The band had grievances with Palmer, resulting in a meeting with no

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Spacemen 3 used the short break between the UK and European tours in spring 1989 as an opportunity to record a new single. Two songs were recorded, at VHF Studios: "Hypnotized", a new song by Pierce, who had recently acquired his own 4-track recorder; and "Just To See You Smile", by Kember. However,

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At the start of the UK tour Kate Radley was again travelling in the tour van, thus causing tension between Kember and Pierce. After several gigs, Kember told Pierce this could not continue. For the rest of the UK dates Pierce and Radley, now living in a new flat together, made their own way to gigs.

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of all future recordings, the rights of which would be licensed to record labels for release; touring and recording costs etc. would be financed by Palmer, who would give Kember and Pierce an advance of £1,000 each; and, in return, all profits would be split 50:50: 50% for Palmer, and 50% for Kember

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who have achieved significant critical acclaim and commercial success. Both Kember and Pierce continue to perform some Spacemen 3 songs live (e.g. "Transparent Radiation", "Revolution", "Suicide", "Set Me Free", "Che" and "Let Me Down Gently" ; and "Take Me to the Other Side", "Walkin' with Jesus",

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Recording for the album proceeded slowly and was still ongoing in Autumn 1989, by which point Kember had used two to three times the amount of studio time as Pierce. According to band members, Kember's behaviour was becoming increasingly obsessive and erratic. He was regularly missing booked studio

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offered Kember a generous one-off album deal which he accepted. Kember finished recordings for his debut solo album and single in March 1989, prior to the commencement of Spacemen 3's European tour. Other members of Spacemen 3, including Pierce, as well as other musicians, had contributed sessions.

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for a month, though these sessions were not particularly productive. ARK Studios only had 8-track facilities and some of Spacemen 3's recordings were accidentally wiped by the in-house sound engineer. Rough demos were managed for Kember's "Honey" and Pierce's "Lord Can You Hear Me?". They still did

371:. They got a few hundred cassette copies made and produced their own artwork and booklet to accompany it, selling the tapes for £1 at a local record shop. Spacemen 3's music at this stage had a loose, swampy blues feel; some songs included harmonica and slide guitar, and their style sounded akin to 1250:

album to Battery Studios, London. Assisted by engineer/producer Anjali Dutt, Pierce completed final remixes of his songs in January 1990. However, Peter Kember's side of the album was far from ready, and he resorted to calling on the help of Richard Formby, a producer. According to Formby, when he

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Spacemen 3 recorded and performed numerous covers and re-workings of other bands' songs, particularly earlier on in their history, and this was indicative of their influences. The Spacemen 3 song "Suicide" was a clear acknowledgement of one of their influences: when performed live it was usually

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A partial and unofficial 'reunion' of Spacemen 3 occurred on 15 July 2010 at a benefit gig dubbed 'A Reunion of Friends', organised for former Spacemen 3 drummer Natty Brooker (diagnosed with terminal cancer) at the Hoxton Bar and Grill in London where there was a retrospective exhibition of his

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The official explanation at the time – and that reported in the UK music press – was that the US tour had been cancelled because they had not been able to obtain work permits due to the drug convictions of band members. However, it has since transpired that this was not the case: work permits had

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Kember and Pierce dismissed Palmer a few days after the meeting; however, Palmer was still one third of Spacemen 3. Additionally, he had already incurred at least £10,000 in recording expenses for the next album, and he stopped backing the imminent US tour, which resulted in a waste of resources.

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In the two decades following the break-up of Spacemen 3, a large amount of previously unreleased recordings has been released, adding significantly to the Spacemen 3 canon. This material includes: live recordings; demos; earlier iterations of certain songs; alternate versions of many songs; some

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In December, the three met to arrange signing the Dedicated record deal. Pierce insisted that Kember sign an agreement stating that the two of them had equal rights to Spacemen 3, to mutually protect them by preventing either party potentially claiming ownership of the Spacemen 3 name should the

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On 14 November 1989, the four remaining Spacemen 3 band members met to discuss finishing the album and arranging future live dates. The meeting was unproductive. Reportedly, Kember and Pierce both said little. Jonny Mattock told Kember he was difficult to work with. Mattock and Mark Refoy, both

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Spacemen 3 are practitioners in the fine art of repetition; instinctively drawing on the lessons of their forefathers and adding an atmosphere, a mood and a sonorous backbeat of their own... they take hold of a chord and work every last permutation out of it before calmly working through to the

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In January–February 1988, Spacemen 3 undertook a six-week tour of continental Europe, encompassing Germany, Austria, Switzerland, the Netherlands and Belgium. Comprising nearly thirty gigs, the tour saw tensions and discontent arise between band members. After they returned to England, drummer

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circuit, and had a regular spot at The Black Lion public house in Northampton. Their gigs had an 'anti performance' element: Kember and Pierce would play their guitars sitting down and would barely acknowledge the audience. They would illuminate the stage with some cheap, old optokinetic disco

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is a fine album. Laid back to the point of bed sores, its hushed vocals, pulsing backbeats and warm walls of sound infuse an introverted beauty with a keen r'n'r understanding. The two sides run on a similar vibe, although Jason's is a tad more conventional, riding on vocal atmospherics and a

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The release of the Spiritualized single was the first Kember had definite knowledge of the band's existence. The circumstances surrounding the single and its marketing prompted Kember to announce that he was leaving Spacemen 3 and that the band no longer existed. Kember, interviewed in 1991:

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Whilst Spacemen 3 were on tour, Palmer prepared the new single for release. Without consulting Kember or Pierce, Palmer mastered the tracks, had the sleeve artwork designed, and selected "Hypnotized" for the A-side. When Kember found out he was furious; however, Palmer refused to postpone the

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The UK tour was shortly followed by an extensive and gruelling four-week tour of continental Europe in April–May 1989. This incorporated 22 dates across the Netherlands, France, Belgium, Denmark, Sweden, Germany, Switzerland, Hungary, Austria and Italy. (Radley was not present on this tour).

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were distinctly different and presaged the solo material which they were already working on by the time of the album's release. Kember's side demonstrated his pop and ambient sensibilities; Pierce's side indicated his sympathy for gospel and blues music and his interest in lush production.

1348:, was finally released in February 1991. Although the band had not officially disbanded, for all intents and purposes it was a posthumous release. The two sides of the album – one by Kember (A-side), the other by Pierce (B-side) – reflected the split between the band's two main personnel. 1031:

Each ditty drives along a tidal wave of filthy sound, an effortless drone featuring the crispest slices of guitar sound since The Stooges… Spacemen 3 are better at this carbon monoxide garage trip than a thousand overrated US geetah schmucks. Weird, wonderful, frightening and out of their

1186:, had commenced at the beginning of August 1989, again at VHF Studios. According to Mark Refoy, Kember and Pierce rarely appeared at the studio at the same time and there was "quite a tense atmosphere" between them, particular over accusations from Kember that Pierce had copied him. 874:

prescription. Kember was regularly described in the music papers, incorrectly, as the "leader" of Spacemen 3, although he had not helped in this portrayal: in the Melody Maker article referred to above, Kember had stated, "This band is my design and the rest are totally into it."

1339:. Kember and Pierce had been due to be at the studio for the mastering of the single, however Pierce did not attend. At that point the two had hardly spoken face to face in over six months. Kember decided to fade out several minutes of Pierce's song from the single, "Drive". 869:

19 November 1988 issue. Kember participated in many interviews, which provided controversy and journalistic focus on his drug-taking habits and his forthright views on recreational drug use. On one occasion, Kember invited his interviewer to accompany him as he collected his

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is one of the best records released by an independent band this year. Adjectives that come to mind are unrelenting, punishing, psychedelic. The razor-blade riffs lead you into a sonic underworld of alienation, desolation and raw power... band are one of the most interesting

631:"marked a serious artistic development, drawing deeper from gospel, ambient, and spiritual music, granting a serenity and depth to their spaced-out garage psychedelia". Much of the album did not feature drums. This was the first album on which Kember contributed lead vocals. 882:

album was delayed due to recording delays and a dispute about song-writing credits, which resulted in a physical altercation. Palmer mediated to resolve the feud. Palmer finally managed to obtain a compromise with Kember conceding split song-writing credits for 'Suicide'.

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During 1986, Spacemen 3 made live performances every few weeks. These continued to occur at local venues, with the exception of gigs in Chesterfield, Birmingham and, in August, their first appearance in London. The latter gig saw them receive their first reviews in both

365:. In 1984 they made their first studio recordings at the home studio of Dave Sheriff in Rugby. This material – which included early iterations of the songs "Walkin' with Jesus", "Come Down Easy" and "Things'll Never be the Same" – was used for a short demo tape entitled 706:

and Pierce and other band members. Significantly, this contract was only with Kember and Pierce, meaning Spacemen 3 as a legal and financial entity would, in essence, constitute only the two of them together with Palmer. In addition, Palmer became Spacemen 3's manager.

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who released several albums. Following the end of Darkside, Bain formed Alphastone, and has assisted Kember on some of the latter's solo projects. As of 2010 he provides vocals and guitar in The Urgz. Stewart Roswell (alias Sterling Roswell) released a solo album,

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Most members of Spacemen 3 have continued to produce music and record either collaboratively or in solo projects. Peter Kember (alias 'Sonic Boom') has had a solo career releasing music under the monikers Spectrum and E.A.R., and has also done production work for

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The single "Revolution" was released in November 1988. The title track was a powerful, anthemic "mind-melting crunch". "'Revolution' was the chest-tearing noise that propelled them from complete obscurity to the cultosphere of young indie rock godz" (Jack Barron,

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peeved, left the meeting prematurely and effectively resigned from Spacemen 3. In December, Gerald Palmer attempted to mediate between his business partners, Kember and Pierce, meeting them individually because Pierce reportedly refused contact with Kember.

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rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name Spacemen 3. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz

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Tonight the Spacies play an absolute stormer... firmly establishing the Spacemen as one of the great rock experiences currently available to us. ...their full array of throbbings, pulsings, yowlings, reverbs, triple echoes and sheer whiplash

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release was called off however. The recording of "When Tomorrow Hits" was the last occasion Kember and Pierce would work together. Disconsolate Will Carruthers left the band at this point, fed up with the discord and lack of remuneration.

814:. Mattock made his live debut on 24 August at a gig at the Riverside in Hammersmith, London, and contributed to the new album. The new rhythm section of Carruthers and Mattock would remain constant for the rest of Spacemen 3's existence. 399:

public house in Rugby on Thursdays. "50s, 60s and 70s punk" records were played and it soon provided a live venue for Spacemen 3 and various other local bands. At one of their gigs at The Black Lion in 1985, they came to the attention of

2210:. Dating to 1984, this provided an interesting insight into the band's earliest work and "rougher" sound. These recordings pre-dated the other early demos previously made available on the 1990 unofficial, Father Yod release entitled 675:

Spacemen 3 reached a deal with Glass Records where in return for providing a live album, their contractual obligations would be deemed to have been met, and they would be allowed to leave. The album, a recording of their gig at the

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In the early 1990s, early Spacemen 3 drummer Natty Brooker played bass under the alias Mr Ugly in a garage rock band The Guaranteed Ugly, with Gavin Wissen. They released two albums. Brooker provided cover artwork for Spacemen 3's

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received little critical attention in the UK, being better received in the United States. However, it represented Kember and Pierce's "collaborative zenith" (Erik Morse), and the album "is practically a best-of in all but name".

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It was in 1986 that guitarist Peter Kember started to use his long-term alias 'Sonic Boom'. He had earlier employed the aliases 'Mainliner' and 'Peter Gunn'. Bassist Pete Bain also adopted his alias—'Bassman' or 'Pete Bassman'.

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was released in July 1986. The cover artwork included shots of the band illuminated by their light-show equipment. The album was not received well, making little impression at the time, although it went on to reach no. 2 on the

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It was at this juncture that Kember and Pierce chose to enter into a contractual relationship with Gerald Palmer, a Northamptonshire businessman and concert promoter who had already been functioning recently as Spacemen 3's

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They were very close friends – they started the band together, but musically and socially they drifted apart. There was never a specific incident – like in a lot of talented bands – there's just a lot of friction between

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What we have here, then, are two very fine solo mini-LPs bolted together under the same moniker. ....a swirling stasis of sound that overcomes you like fumes.... Jason's Spaceman sound is more desolate and grandiose than

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In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new

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the 3 on afterwards – that came about from a poster we did which had "Are Your Dreams at Night 3 Sizes Too Big?" with a very big 3 on it and it really worked as a logo, it just fell into place. It's really for the

810:– a drum machine was used on all of the songs and no drummer is credited on the album. Mattock had been playing in a Northampton band called The Apple Creation. He was recommended by future Spacemen 3 guitarist 1258:(Sonic Boom), was released. Recorded nearly a year previously, Kember had used the project as a vehicle for a group of melancholic themed songs, having decided to save his more upbeat work for Spacemen 3 and 1310:

I was pretty peeved because the whole thing was done in total secrecy, and everyone involved was told not to tell me about it, which is quite different from my solo project which was all done totally in the

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unfinished work; and some entirely previously unreleased songs. These releases have been both official and unofficial, and some have been issued by the Kember/Palmer-affiliated label Space Age Recordings.

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Pat Fish was slated to produce the album, but he had commitments with his band, and Bob Lamb produced it. Kember and Pierce were unhappy with the results, and they preferred the Northampton demos instead.

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on the Bomp! label, but without 'Take Me to the Other Side' and an alternate take of 'Suicide') which represented the first release of the band's live work from their lengthy 1989 contintental tour; and

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Spacemen 3 performed live on about twenty occasions during 1987. This included several gigs in the Netherlands and Belgium in March, and a few dates in London, Sheffield and Leeds later on in the year.

2237:, a bootleg of performances from the band's 1988 gig at the University of London Students Union. The former has been described as "far better than the more ragged earlier Spacemen 3 live album, 1988's 1072:

remained more or less consistent around this period. For the purposes of live performances, Spacemen 3 played their more powerful or heavier – and therefore mostly older – songs, featuring little from

760:, six were Kember's compositions, whilst only three were Pierce's. For the recording, individual parts were recorded separately, which meant band members did not have to be present at the same time. 1278:". This was recorded at VHF Studios; the purpose of these sessions was kept secret from Kember who was still working there. Speaking in 1991, Pierce explained the purpose of starting Spiritualized: 1222:

During 1989, Gerald Palmer had been courting interest and offers from US major record labels. Palmer had been postponing a decision hoping the US tour would lever improved offers. Negotiations with

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In January 1986, Spacemen 3 attended the Studio Morocco based at the home of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the

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A UK tour in spring 1988 used stand-in drummers to fulfil live dates. Roswell's departure was followed by that of Pete Bain at the end of May. A replacement bassist was immediately appointed:

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With the exception of "Revolution" and "Suicide", the other songs on the album were mellower and softer than Spacemen 3's previous work, continuing the development of their previous album. "

1201:'s "When Tomorrow Hits", for a prospective split single with Mudhoney. When Kember heard Mudhoney's version of "Revolution", with altered lyrics, he was offended and this collaborative 474:

Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label

1872:. The album liner notes stated: "There are so many current bands who draw their influences from Spacemen 3 that now seems an appropriate time to show tribute to this underrated band." 1100:

In June, Spacemen 3 played ten UK gigs. Initially, Pierce was making his own way to these dates, but when he instead used the tour van there was a bad atmosphere between the two men.

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on their live tour in 2007. Will Carruthers took a hiatus from the music industry after leaving Spiritualized; but subsequently has worked with Kember, recorded two solo albums as

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Pierce's sound is more lyrical and dramatic, building songs into climaxes. Sonic Boom's lengthy textured pieces move horizontally – a rhythmic, hypnotic pulse from start to finish.

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sessions. The single's cover sleeve, which had no text on it, controversially bore a sticker saying "Spacemen 3". Furthermore, adverts for the single featured the Spacemen 3 logo.

1825:). They produced "some of the most visceral and psychedelic music of all time...and set a sonic template that influenced a generation, inspiring countless bands" (Julian Woolsey, 1161:, London, a 2,000-capacity venue. On 22 August, they played a warm-up gig at Subterranea, London, for the Reading Festival, their first festival gig. Spacemen 3 played at the 1298:

In June 1990, Spiritualized released their debut single, "Anyway That You Want Me". This was a cover of a song by The Troggs which Spacemen 3 had demoed in 1988 during their

829:, 29/7/1989). The single peaked in the top 10 of the indie charts, representing Spacemen 3's highest chart position yet, and was voted by radio listeners for inclusion in 1410:

dreamtime feel, while Sonic's is sparser, pulling on a more disparate source of influences as shown on "Big City", the LP's killer cut as well as the current fab single.

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It is a curious, brave, intriguing record, quite unlike anything that you're likely to hear elsewhere. And it's no mere novelty; more, I reckon, a minor triumph. 8½/10.

1024:, who paid $ 10,000 for the rights. Spacemen 3 were popular in America and a prospective US tour was planned to start in September 1989. Greg Shaw organised the tour. 1027:

In February–March 1989, Spacemen 3 undertook a four-week UK tour comprising 21 dates, coinciding with the new album's release. Comments from gig reviews included:

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who were known for their ominously repetitive music. Kember has articulated the maxim: "One chord best, two chords cool, three chords okay, four chords average".

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formed Spiritualized with Pierce in early 1990. Carruthers left the band after the first album in 1992; followed by Mattock and Refoy in 1994. Refoy then fronted

4525: 787:. The crowd assembled for the film was not impressed, and, according to Pat Fish, one of the patrons remarked to the other: "To think that Elvis died for this!" 1726: 1089:

At the beginning of 1989 Spacemen 3 had been one of the "hottest indie bands in England" (Erik Morse) and were gaining the attention of major US record labels.

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band"; whilst their later work was mostly sparser and softer with more textural techniques and augmented by organs, resulting in "their signature trance-like

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indie charts. It was "their most critically and commercially successful album". Reviews were extremely positive and the album garnered wide critical acclaim.

5273: 467:. with studio manager Dave Howard dealing with the technicalities. These "fine set of performances" would later be unofficially released as the vinyl album 683:

Following their departure from Glass Records, Spacemen 3 were without a record deal. The only offer they received was from the prominent independent label

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On 19 August, Spacemen 3 gave an unusual live performance. Palmer had booked them to provide 'An Evening of Contemporary Sitar Music' in the foyer of the

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prompted renewed press speculation about the future of Spacemen 3. No official statement explained why, or confirmed whether, Spacemen 3 had broken up.

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was Spacemen 3's first record to chart and one of the breakthrough indie albums of the year. Within weeks of its release, it was No. 1 in both the

1286:, and it was a long way off Spacemen 3 touring again, so I wanted to do another tour. So, initially, it was set up as a means to get back on the road. 609:, and matched the previous single in reaching no. 29 on the independent chart. The B-side included "Ecstasy Symphony", an experimental piece using an 293:(1989), went on to have greater success towards the end of the decade. However, they disbanded shortly afterwards, releasing their final studio album 5442: 478:, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986. 341:

a couple of gigs they managed to get at a local bar; at the latter their set included a 20-minute version of the one-chord song "O.D. Catastrophe".

306:. Kember and Pierce were the only members common to all line-ups of the band. Pierce has enjoyed considerable success with his subsequent project— 752:

recommenced despite a deteriorating relationship between Kember and Pierce; they returned to VHF Studios, outside Rugby, where they had recorded

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Spacemen 3 "became the indie phenomenon of late 1988" (Erik Morse). They were receiving more media attention and got their first cover story in

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album was finally released on 27 February 1989. The album's front cover sleeve bore the slogan, "Purity, Love, Suicide, Accuracy, Revolution".

651:, whom he had been dating since summer 1987. Kember resented the amount of time his song-writing partner was spending with her at his expense. 5050: 5015: 4386: 4363: 2203:

performance at the Watermans Art Centre, Brentford, London, of August 1988 – was augmented with a previously unreleased recording of a jam.

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and everyday ambient sounds such as those created by electric razors, washing machines, lawnmowers, planes, motor engines and passing cars.

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In 1991 Kember and Pierce were pursuing their musical careers with their own bands, Spectrum and Spiritualized respectively. The release of

428:. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones. 4264: 2677: 1432:

I don't really see any problem anyway, if you buy Pete's album and you buy mine, you've got a Spacemen 3 album anyhow, by combining the two

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resolution or compromise. In an interview in 1991, Kember described Palmer as "the most devious guy I've ever had the misfortune to meet".

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Spacemen 3 have kicked out the aimless jams, opted for colour, space and sensuality, and come up with the last word in English psychedelia.

895:. His productivity meant he had a surfeit of songs, and he advised his bandmates of his intention to produce a solo album. New indie label 375:. These early demo recordings, which Kember later recalled as being "really dreadful", would later be released unofficially in 1995 on the 302:

They gained a reputation as a 'drug band' due to the members' drug-taking habits and Kember's candid interviews and outspoken opinions on

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In the latter half of 1990, Pierce's new band, Spiritualized, toured around the UK. They performed songs from the then as yet unreleased

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Spacemen 3 had the dictum "taking drugs to make music to take drugs to". Kember candidly admitted to his frequent drug taking—including

1076:; although the odd softer song was played occasionally. Sets typically ended with the song "Suicide" which could last up to 45 minutes. 5457: 1107:

was released on 3 July 1989. It was their "most anticipated release yet" (Erik Morse) and immediately charted inside the top 10 of the

4405: 5432: 5298: 2050: 4282: 3508: 5472: 5437: 3043: 1319:, as well as new material. Spiritualized signed a record deal with Dedicated and recorded their debut album in winter 1990/91. 4674: 1484:. Jason Pierce (alias 'J. Spaceman') remains the leader and creative force, and only constant member, of the alternative band 5008: 4966: 4587: 556:

To follow up their album, Spacemen 3 made their first single, "Walkin' with Jesus" in 1986; the received decent reviews from

1587:, softly sung/spoken vocals, and sparse or monolithic drumming. Their earlier record releases were guitar 'heavy', sounding 647:

Relations between Peter Kember and Jason Pierce were beginning to suffer as a result of Pierce's romantic relationship with

5234: 5139: 2245: 2113: 1963: 904:) and single – under the moniker of Kember's alias, Sonic Boom – were put on hold in order to avoid a marketing clash with 289: 4767: 1009:). The band "created glazed, liquid songs with subtle arrangements and sheer reveling in aural joys... a feast of sound". 821:. At a gig on 15 November 1988, advertised as 'Sonic Boom and Jason of Spacemen 3', only Kember and Carruthers performed. 248:, known respectively under their pseudonyms Sonic Boom and J Spaceman. Their music is known for its brand of "trance-like 4749: 310:. Kember has since found acclaim for his production work with indie artists, most often under the stage name Sonic Boom. 2291:. This wholly comprised previously unreleased material, including alternate versions, rough demos, unfinished work etc. 2193:, an unofficial release of 1991, was a compilation of alternate song versions and rare releases. The 1993 re-release of 1251:

arrived, Kember's recording was only half done; some songs were incomplete, and two had to be re-recorded from scratch.

5477: 4171: 843:, it was extremely well received by the music press whose general attitude towards the band changed at this juncture: 4941: 4867: 4234: 2417: 777:, based around a single chord strummed by Evans, featuring riffs from some of the songs from their as yet unreleased 1641:

addict. Much of Spacemen 3's music concerned documenting the drug experience and conveying the related feelings. In

722:

Around spring 1988 Kember was using his 4-track recorder to develop his ideas and several songs for the next album.

503:

album had a heavy psychedelic style. It was "a full on, fuzzed up drone of relentless guitar pounding" (Ian Edmond,

376: 5075:

magazine, Issue 14, Autumn 1988 – article by Nigel Cross and Byron Coley and interviews with Peter Kember 1987/88.

4142: 605:—was recorded, and released as a single in July 1987. "Transparent Radiation" was awarded 'Single of the Week' by 4057:"Interview: Jason Pierce of Spiritualized: "The shows've felt deeply reverential, almost like a church service."" 2221:(Northampton Demos) album included several previously unreleased alternate song versions and other bonus tracks. 1274:, comprising all the same members as Spacemen 3 except for Kember. In February 1990, this new grouping recorded " 281:(1986), Spacemen 3 had their first independent chart hits in 1987, gaining a cult following, and through albums 5467: 5462: 5291: 5259: 5109: 4447: 2010: 367: 2199:

on the Sympathy for the Record Industry label – which included the intriguing live 44-minute Eastern-inspired

1838:

Stephen Dalton referred to Spacemen 3 as "one of the most influential underground bands of the last decade".

4702: 4312: 3147: 1210:

slots. In late October, Kember's debut solo single, "Angel" was released. It received a lukewarm reception.

344:

In autumn 1983, Pierce, having finished his course at Rugby Art College, started attending an art school in

5362: 5355: 2093: 1516: 1104: 5369: 4620: 2100: 1599:". Kember described it as "very hypnotic and minimal; every track has a drone all the way through it". 1556: 1158: 1097:

pressing of the single. A resulting feud permanently damaged Kember and Palmer's working relationship.

742: 4551: 4496: 4424: 5348: 4984:(Spacemen 3 fan magazine), Issues 1 & 2, 1991 (Two-part article re: early history of Spacemen 3). 2078: 1567:

Sonically, Spacemen 3's music was characterised by fuzzy and distorted electric guitars, stuttering

1559:. They played a 45-minute set comprising the songs 'Walkin' with Jesus', 'Revolution' and 'Suicide'. 1005:... shows another side of Spacemen 3 – a slower, melancholic, blissfully refined pop band" (Ron Rom, 896: 2685: 2361: 1246:

In late 1989, Jason Pierce, dissatisfied with his mixes at VHF Studios, took his recordings for the

564:, and peaked at no. 29 on the UK Independent Chart, and no. 46 in the indie chart published by 5227: 5132: 2548:, Spacemen 3 fan magazine, Issues 1 & 2, 1991. Two-part article re: early history of Spacemen 3 2259: 1945: 1275: 945: 773:. Kember, Pierce and Carruthers were joined by Rugby musician Steve Evans. They played a 45-minute 590: 283: 5058: 5023: 4348: 1295:

chose the final mixes for release. There were reportedly dozens of different mixes for each song.

4912: 4887: 4529: 4382: 4359: 2357: 1227: 658:, a friend of the band who had recently been playing in another Rugby group, 'The Cogs of Tyme'. 47: 5105:, April 1991 edition – Stephen Dalton article and interviews with Peter Kember and Jason Pierce. 4268: 1656: 268: 35: 4646: 4064: 2263:, was also given the special re-release treatment. The double disc official release, entitled 382:

Around 1984 and 1985, Spacemen 3 were doing gigs every two or three months on the local Rugby/

5341: 5323: 2071: 1473: 764: 303: 701:

manager. This tripartite business partnership had the following terms: Palmer would own the

5305: 5099:, 09/02/1991 edition – John Robb article and interviews with Peter Kember and Jason Pierce. 4908: 4883: 2265: 2124: 1745: 1037: 791: 521: 456: 4217:"freelovebabies | Listen and Stream Free Music, Albums, New Releases, Photos, Videos" 1648:

2011 list, the '50 Druggiest Albums' of all time, Spacemen 3's Northampton Demos release,

8: 5401: 5125: 4485: 4092: 1527: 1481: 1359:

album. Musically, it was richer and lusher, but Kember and Pierce's respective halves of

1282:

It was so as though I could get back on the road again. Pete was still doing tracks for

1136: 661:

In July 1988, Spacemen 3's third single, "Take Me to the Other Side", was released, from

471:

on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").

463:, they managed to get demos for approximately seven songs. Kember and Pierce handled the 332: 237: 107: 43: 1543:

album and early Spiritualized releases. Brooker died of cancer on Friday 18 April 2014.

513:

review of the 1990 re-release said that the album was "A lo-fi, mostly low-key affair."

88: 5220: 3516: 1925: 1660: 594:, which was recorded at Paul Adkins' VHF Studios, near Rugby; it was at the request of 488: 277: 253: 51: 4331: 4199:"Slipstream | Listen and Stream Free Music, Albums, New Releases, Photos, Videos" 4087: 1335:

was released. Both songs from the double A-side single were from the soon-to-released

817:

In summer 1988, Spacemen 3 managed to obtain a two-album deal with independent label,

5406: 5241: 5004: 4962: 4937: 4863: 4583: 4332:"Spacemen 3 and Spiritualized artist Natty Brooker to exhibit classic sleeve artwork" 4290: 4147: 3051: 2413: 2273: 1983: 1975: 1504: 1344: 1231: 1223: 1182: 1151: 818: 811: 737:

New bassist Will Carruthers made his first live appearance with Spacemen 3 at London

534: 445: 295: 225: 177: 173: 448:

and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and

5198: 4679: 2447: 1788: 1756: 1694: 1523: 1477: 1162: 691:

was only able to offer a one-album deal and with no advance. This was not pursued.

684: 464: 404: 213: 136: 131: 2287:

In 2005, Kember produced and released his own limited edition, double disc album,

1079: 5180: 4651: 4603: 4577: 1992: 1865: 1740: 1622: 1614: 1596: 1492: 1132: 769: 655: 524:

in 1989. Publicity for the album suffered from lack of funding by Glass Records.

437: 392: 249: 121: 55: 4009: 3859: 1165:

on 25 August 1989. This would transpire to be their last ever live performance.

5411: 4775: 4526:"Record Store Day 2017: The full list of 563 exclusive music releases revealed" 1831: 1676: 1607: 1512: 1375: 1194: 795: 595: 272: 217: 4391: 4368: 601:

Whilst working on the album, "Transparent Radiation"—a cover of a song by the

5426: 5386: 5203: 2907:, 16/8/1986 – concert review, The Clarendon, Hammersmith, London, August 1986 1937: 1845: 1821:"Spacemen 3 were one of the most revolutionary UK guitar bands" (Ian Edmond, 1584: 1572: 1552: 1519:. Carruthers, Mattock and Refoy have also collaborated on projects together. 1508: 1496: 1485: 1271: 1197:. Kember and Pierce agreed to be in the studio together to record a cover of 1144: 1017: 834: 803: 610: 475: 307: 221: 169: 1730: 1266:

album was advertised as being by the "founder member/leader of Spacemen 3".

781:

material. This performance was recorded and was later released, in 1990, as

507:), with a "rough garage energy " and "minimal, bluntly entrancing riffs". A 5391: 5167: 5160: 5031: 4114: 1576: 1396: 1391: 839: 702: 328: 324: 245: 241: 201: 197: 4242: 3509:"Spacemen 3 - Artist Profile: Taking Drugs to Make Music to Take Drugs To" 1663:. Additionally, various proto-punk and psychedelic bands influenced them. 2200: 1849: 1698: 1683: 1630: 1592: 1588: 1190:(Pierce's project), were called in to contribute sessions when required. 774: 648: 602: 452:; these two effects were key components of Spacemen 3's signature sound. 383: 323:

The creative and song-writing force throughout Spacemen 3's history were

264: 257: 141: 4840: 4817:

magazine, Issue 285, May 2003 – Spacemen 3 feature, detailed discography

891:

In late 1988, Peter Kember was already working on new material for post

5396: 5185: 1876: 1869: 1861: 1702: 1690: 1668: 1500: 688: 372: 146: 126: 4862:(19th ed.). London: Guinness World Records Limited. p. 518. 3799: 1355:

had been composed in 1989. It expanded on the sounds of the previous,

1193:

In late September, Kember made a solo performance at a gig supporting

5175: 4216: 1672: 1603: 1140: 1021: 871: 830: 767:

in Brentford, London, to act as a prelude to a screening of the film

738: 441: 432: 425: 362: 354: 345: 337: 207: 4406:"Video: Spacemen 3 Reunite Without Jason Pierce, With Kevin Shields" 2871:, 1990 – 'Sound of Confusion' (re-release) review by Simon Reynolds. 1602:

Spacemen 3 were adherents to the "minimal is maximal" philosophy of

331:. They met at the (now defunct) Rugby Art College on Clifton Road, 4624: 4555: 4176: 3064:

spacemen3.co.uk fan website – gig list. Accessed 25 September 2011.

2365: 2208:

For All the Fucked Up Children of This World We Give You Spacemen 3

2157:

For All the Fucked Up Children of This World We Give You Spacemen 3

1548: 1198: 1069: 730: 697: 460: 407:; he felt Spacemen 3 were "extraordinary" and "like nothing else". 400: 387: 4198: 3883: 3871: 588:

In January 1987, Spacemen 3 commenced work on their second album,

551:: concert review, The Clarendon, Hammersmith, London, August 1986. 379:

label, thus providing an insight into the band's embryonic sound.

368:

For All The Fucked Up Children Of The World We Give You Spacemen 3

4851: 4316: 3720: 3684: 3672: 3170: 3067: 1634: 1568: 1202: 911: 677: 449: 4675:"Spiritualized's Jason Pierce addresses Spacemen 3 reunion talk" 4505:, pp. 20, 23–27, 31–32, 35–36, 39–51, 54–57, 62, 70, 72–75. 1841:"Amen" is used as the theme song for the Vice show "Abandoned". 2206:

1995 saw the unofficial release of the band's first demo tape:

1857: 1638: 1080:

Break-up, final album, and formation of Spiritualized (1989–91)

4369:"Ex-Spacemen 3- A Reunion of friends 2010- Walking with Jesus" 1724: 1157:

On 23 July, Spacemen 3 played their biggest headlining gig at

5117: 4706: 3823: 3787: 3775: 3732: 3612: 3266: 3182: 2970: 1580: 1254:

In January 1990, Kember's side project and debut solo album,

181: 4608:. Vol. 41. New York Magazine Company. 2008. p. 96. 4115:"Animal Collective's Panda Bear announces new album details" 3560: 3558: 2280:

comprises demo recordings of early iterations of songs from

3321: 3319: 3317: 2607:

magazine, Issue 285, May 2003 – Spacemen 3 feature, article

1829:). Writing in spring 1991, just after the band had split, 1689:

Their musical style has been described as neo-psychedelia,

1626: 1469: 1462: 598:

Graham Walker. It took eight months and £3,000 to produce.

4810: 4808: 4806: 4804: 4802: 4800: 4798: 3409: 3407: 3044:"I have a passion sweet Lord... and it just won't go away" 391:

light-show equipment which they had acquired, providing a

4119: 3997: 3973: 3961: 3949: 3937: 3916: 3847: 3708: 3555: 3218: 3194: 3091: 2504: 1731:

Other musician contributions at studio session recordings

1618: 575: 509: 299:

post-split in 1991 after an acrimonious parting of ways.

4735: 4733: 4731: 4729: 4727: 4725: 4723: 3811: 3744: 3696: 3660: 3648: 3636: 3600: 3476: 3464: 3331: 3314: 3278: 3254: 3242: 3206: 3158: 3127: 3115: 3079: 3011: 2999: 2946: 2934: 4795: 3590: 3588: 3404: 3038: 3036: 3034: 3032: 3030: 3028: 3026: 2874: 2786: 5081:, Issue 48, Summer 1988 – interview with Peter Kember. 4392:"Ex-Spacemen 3- A Reunion of friends 2010- Revolution" 3575: 3573: 2910: 2810: 2761: 2749: 2737: 2713: 2701: 2658: 2622: 729:, started in June 1988. Palmer, booked ARK Studios in 318: 5057:. Record Collector magazine. May 2003. Archived from 5022:. Record Collector magazine. May 2003. Archived from 4720: 3985: 3904: 3835: 3394: 3392: 3390: 2610: 1522:

After leaving Spacemen 3 in 1988, both Pete Bain and

1507:

who released two albums. Refoy played guitar for the

4792:

press release statement. Accessed 14 September 2011.

4579:

The Rough Guide to the Best Music You've Never Heard

4038: 4036: 3585: 3531: 3488: 3302: 3103: 3023: 2698:

alteredzones.com, 2011 – interview with Peter Kember

1177:

been obtained for the band, albeit with difficulty.

802:, a permanent drummer was recruited in late August: 5087:, 19/11/1988 edition – interview with Peter Kember. 4978:

magazine, Issue 285, May 2003 – Spacemen 3 feature.

3570: 3377: 3375: 2922: 2886: 2850: 2838: 2725: 2646: 2634: 2600: 2598: 2596: 2594: 2592: 2590: 2588: 2586: 2584: 2582: 2580: 2578: 2576: 2574: 2067:"Walkin' with Jesus" (Glass) 1986 – UK Indie no. 29 5093:, 29/7/1989 edition – interview with Peter Kember. 3387: 2572: 2570: 2568: 2566: 2564: 2562: 2560: 2558: 2556: 2554: 2494: 2492: 2490: 2488: 709: 486:Spacemen 3 were sent to record their first album, 4033: 3148:"Oh go on, Jason Pierce, give us another classic" 2486: 2484: 2482: 2480: 2478: 2476: 2474: 2472: 2470: 2468: 5424: 4750:"Interview with Michael Ian Cummings of SKATERS" 3765: 3763: 3761: 3759: 3372: 2440: 1180:Recording for Spacemen 3's fourth studio album, 459:studio. Recording live as a group, with minimal 410: 5110:"Taking Drugs to Make Music to Take Drugs To -" 4448:"Taking Drugs to Make Music to Take Drugs To -" 2551: 2541: 2539: 2430: 2428: 2426: 1562: 725:Recording for Spacemen 3's third studio album, 4621:"Spiritualized Biography, Songs, & Albums" 4143:"From The Desk Of Dean & Britta: Spectrum" 3360: 2537: 2535: 2533: 2531: 2529: 2527: 2525: 2523: 2521: 2519: 2465: 2096:" (Fire) 1989 – UK No. 85, UK Indie no. 1 1016:album was distributed in the United States on 665:album. The single received good press and was 5133: 4552:"Chapterhouse Biography, Songs, & Albums" 3756: 3350: 3348: 3346: 2827: 2825: 1093:Kember accused Pierce of copying his sounds. 680:venue, Amsterdam, was released in July 1988. 236:were an English rock band, formed in 1982 in 54:. Please discuss this issue on the article's 4672: 4425:"DAILY FIX: Footage from Spacemen 3 Reunion" 3934:Jason Pierce – TV interview, c. Spring 1991. 2423: 1526:(aka Rosco) joined the neo-psychedelic band 361:Eventually, Spacemen 3 decided to produce a 5001:Spacemen 3 & the Birth of Spiritualized 4959:Spacemen 3 & the Birth of Spiritualized 4835: 4833: 4831: 4829: 4827: 4825: 4823: 4394:. 28 July 2010 – via www.youtube.com. 4371:. 31 July 2010 – via www.youtube.com. 2781:Taking Drugs to Make Music to Take Drugs To 2516: 2362:"Spacemen 3 | Biography & History" 2257:In 2004, Spacemen 3's second studio album, 2219:Taking Drugs to Make Music to Take Drugs To 2212:Taking Drugs to Make Music to Take Drugs To 2141:Taking Drugs to Make Music to Take Drugs To 2087:(untitled) aka "Threebie 3" (Fierce) 1989 1881:Spacemen 3 & The Birth of Spiritualized 1655:The group took influence from The Stooges, 1650:Taking Drugs to Make Music to Take Drugs To 469:Taking Drugs to Make Music to Take Drugs To 5140: 5126: 4575: 4018:, pp. 214–216, 237, 246–247, 272–273. 3868:, pp. 234–235, 240–241, 246, 261–262. 3454: 3452: 3450: 3448: 3446: 3343: 2982: 2822: 2244:In 1999, Spacemen 3's third studio album, 2052:Translucent Flashbacks – The Glass Singles 1879:'s biography of the band's life and work, 1453:Dave Bedford (PR Officer, Fire Records) – 886: 4329: 2404: 2402: 2084:"Revolution" (Fire) 1988 – UK Indie no. 8 1667:introduced as "this song is dedicated to 957:An early contender for album of the year. 790:After initial plans to use drummers from 741:on 20 June, where they were supported by 263:The band drew inspiration from acts like 5443:Sympathy for the Record Industry artists 4820: 2400: 2398: 2396: 2394: 2392: 2390: 2388: 2386: 2384: 2382: 1463:Band members' activities post Spacemen 3 1217: 4857: 4442: 4440: 4438: 3443: 2224:Two live albums were released in 1995: 2182:Notes re: releases since band disbanded 1327:In January 1991, the Spacemen 3 single 5425: 5299:Translucent Flashbacks - Glass Singles 4523: 4085: 2352: 2350: 2348: 2346: 2344: 2342: 2340: 2338: 2336: 2334: 2332: 2330: 2328: 2326: 2324: 1489:"Amen" and "Lord Can You Hear Me?" ). 806:. Despite this, he does not appear on 260:, and minimal chord or tempo changes. 5453:Musical groups disestablished in 1991 5121: 4956: 4950: 4644: 4502: 4172:"Flowers Of Hell Reveal Odes Details" 4169: 4048: 4015: 4003: 3991: 3979: 3967: 3955: 3943: 3922: 3910: 3889: 3877: 3865: 3853: 3841: 3829: 3817: 3805: 3793: 3781: 3750: 3738: 3726: 3714: 3702: 3690: 3678: 3666: 3654: 3642: 3618: 3606: 3594: 3537: 3494: 3482: 3470: 3337: 3308: 3284: 3272: 3260: 3248: 3236: 3224: 3212: 3200: 3188: 3176: 3164: 3145: 3133: 3121: 3109: 3097: 3085: 3073: 3017: 3005: 2976: 2952: 2940: 2928: 2916: 2892: 2880: 2856: 2844: 2816: 2792: 2767: 2755: 2743: 2731: 2719: 2707: 2664: 2652: 2640: 2628: 2616: 2510: 2379: 2322: 2320: 2318: 2316: 2314: 2312: 2310: 2308: 2306: 2304: 1119:Single of the Week. After two weeks, 4435: 2356: 1515:, and has most recently toured with 837:. Awarded Single of the Week by the 418: 336:which they used. Shortly afterwards 18: 4549: 4170:Adams, Gregory (7 September 2012). 1785:Guitars/keyboards – Richard Formby 1591:-esque and "a bit like a punked-up 1290:Kember continued on completing his 1127:indie chart, and No. 2 on the 403:, the leader of the recording band 319:Formation and early years (1982–85) 13: 5448:Musical groups established in 1982 4988: 4673:Thomas-Mason, Lee (10 July 2018). 4618: 2301: 2289:How the Blues Should've Turned Out 2173:How the Blues Should've Turned Out 1848:to Spacemen 3 was released by the 734:not have a drummer at this point. 14: 5489: 5458:English space rock musical groups 5112:. 3:AM Magazine. 10 October 2002. 4936:(5th ed.) Edinburgh: Mojo Books. 4700: 4647:"Review: MGMT, 'Congratulations'" 4422: 4267:. 25 October 2012. Archived from 4054: 3901:Peter Kember – TV interview, 1991 3808:, pp. 237, 241–242, 246–250. 3506: 1856:included covers by bands such as 4926: 4901: 4876: 4860:British Hit Singles & Albums 4760: 4742: 4694: 4666: 4645:Aaron, Charles (22 March 2010). 4638: 4612: 4596: 4569: 4543: 4517: 4508: 4478: 4466: 4454: 4416: 4398: 4375: 4352: 4342: 4330:Wilkinson, Matt (16 June 2010). 4323: 4315:. 11 August 2010. Archived from 4305: 4275: 4257: 4227: 4209: 4191: 4163: 4135: 4107: 4079: 4021: 3928: 3895: 2074:" (Glass) 1987 – UK Indie no. 29 1891: 1139:"). It was voted No. 33 in 900:Release of Kember's solo album ( 377:Sympathy for the Record Industry 87: 38:to read and navigate comfortably 23: 5433:English alternative rock groups 3624: 3543: 3500: 3431: 3419: 3290: 3230: 3146:McGee, Alan (2 November 2007). 3139: 2958: 2898: 2862: 2798: 2773: 2670: 1713: 5473:1982 establishments in England 5438:English neo-psychedelia groups 5292:For All the Fucked Up Children 5147: 4086:Dombal, Ryan (19 April 2010). 2103:" (Fire) 1991 – UK No. 88 1886: 1682:Kember was also interested in 1606:, singer for the American duo 481: 275:. Following their debut album 1: 5114:– interview with Peter Kember 4524:Copsey, Rob (21 March 2017). 4514:Spacemen 3 'Threebie' live EP 2294: 920:Spacemen 3's eagerly awaited 16:English alternative rock band 4582:. Rough Guides. p. 33. 3892:, pp. 254–255, 265–267. 3880:, pp. 261–264, 268–269. 3729:, pp. 235–236, 238–239. 3693:, pp. 225–227, 230–232. 3681:, pp. 224–225, 232–234. 3179:, pp. 146–147, 166–167. 3076:, pp. 138–150, 154–155. 2678:"Artist Profile: Sonic Boom" 1708: 1563:Musical style and influences 1517:The Brian Jonestown Massacre 1131:indie chart (second only to 756:. Of the eventual tracks on 7: 5051:"Stooges? Velvets? Stones?" 5016:"Stooges? Velvets? Stones?" 4061:About.com Alternative Music 3513:About.com Alternative Music 2217:The 1994 re-release of the 2191:Losing Touch with Your Mind 2149:Losing Touch with Your Mind 1722: 1718: 1342:The last Spacemen 3 album, 1159:The Town & Country Club 46:content into sub-articles, 10: 5494: 4934:The Great Rock Discography 4576:Williamson, Nigel (2008). 4486:"50 druggiest albums ever" 2452:Rugby-local-history.org.uk 2228:(also released in 1995 as 1652:, was ranked No. 23. 1123:reached No. 1 on the 687:. However, Creation owner 313: 5478:Dedicated Records artists 5379: 5349:Take Me to the Other Side 5333: 5315: 5283: 5251: 5212: 5155: 5044:Discographies (detailed): 4884:"Spacemen 3 – Hypnotized" 4768:"A Tribute To Spacemen 3" 2108:Special re-release albums 2079:Take Me to the Other Side 1816: 1583:, harmonic overtones and 717: 444:; whilst Pierce bought a 431:At Pierce's instigation, 191: 187: 165: 155: 114: 103: 98: 86: 79: 5228:The Perfect Prescription 4313:"www.nattybrooker.co.uk" 3832:, pp. 241, 247–252. 3796:, pp. 241, 244–245. 3784:, pp. 234, 241–245. 3741:, pp. 234, 241–242. 3621:, pp. 204–208, 214. 3275:, pp. 180, 200–201. 3191:, pp. 170–172, 187. 2994:The Perfect Prescription 2979:, pp. 111, 127–130. 2358:Erlewine, Stephen Thomas 2282:The Perfect Prescription 2260:The Perfect Prescription 1946:The Perfect Prescription 1800:The Perfect Prescription 1736:Violin – Owen John. † § 754:The Perfect Prescription 663:The Perfect Prescription 629:The Perfect Prescription 622:The Perfect Prescription 617:The Perfect Prescription 591:The Perfect Prescription 577:The Perfect Prescription 440:and 1960s Vox Conqueror 284:The Perfect Prescription 252:" consisting of heavily 214:Sterling 'Rosco' Roswell 5199:Stewart 'Rosco' Roswell 4913:Official Charts Company 4909:"Spacemen 3 – Big City" 4888:Official Charts Company 4858:Roberts, David (2006). 4530:Official Charts Company 3357:, Issue 48, Summer 1988 2501:, Issue 14, Autumn 1988 1875:In 2004, US journalist 1854:A Tribute to Spacemen 3 1771:Trumpet – Mick Manning 1764:Saxophone – Alex Green 1322: 1276:Anyway That You Want Me 1241: 1226:, a satellite label of 1084: 887:Sonic Boom solo project 638: 583: 4283:"Guaranteed Ugly, The" 1657:The Velvet Underground 1460: 1444: 1422: 1403: 1382: 1313: 1288: 1061: 1046: 999: 985: 968: 954: 916:album release and tour 860: 644:Stewart Roswell quit. 554: 359: 269:the Velvet Underground 99:Background information 5468:Glass Records artists 5463:English musical trios 5324:Transparent Radiation 4790:Tribute to Spacemen 3 4423:Necci, Marilyn Drew. 4265:"The Guaranteed Ugly" 2783:reissue (Bomp!, 1995) 2513:, pp. 19, 38–50. 2408:Lazell, Barry (1997) 2072:Transparent Radiation 1811:"Girl On Fire" (demo) 1780:(of The Jazz Butcher) 1773:(of The Jazz Butcher) 1766:(of The Jazz Butcher) 1753:Saxophone – Pat Fish 1575:, the employment of ' 1445: 1430: 1404: 1383: 1366: 1308: 1280: 1218:Dedicated record deal 1115:indie charts. It was 1047: 1029: 986: 969: 955: 938: 845: 798:for the recording of 765:Waterman's Art Centre 540: 350: 304:recreational drug use 5306:Forged Prescriptions 5067:Selected interviews: 4999:Morse, Erik (2005). 4957:Morse, Erik (2004). 4778:on 20 September 2011 4739:album sleeve credits 3717:, pp. 230, 235. 3227:, pp. 2–4, 191. 3203:, pp. 155, 180. 3100:, pp. 155, 169. 2990:Forged Prescriptions 2779:Album liner notes – 2412:, Cherry Red Books, 2410:Indie Hits 1980–1989 2266:Forged Prescriptions 2235:Revolution or Heroin 2165:Revolution or Heroin 2125:Forged Prescriptions 1746:The Perfect Disaster 1693:, psychedelic rock, 1637:—and being a former 1533:The Psychedelic Ubik 792:The Weather Prophets 672:Single of the Week. 522:UK Independent Chart 5274:Live In Europe 1989 4961:. London: Omnibus. 4293:on 29 December 2010 4271:on 25 October 2012. 4006:, pp. 272–273. 3982:, pp. 269–271. 3970:, pp. 264–269. 3958:, pp. 264–270. 3946:, pp. 267–268. 3925:, pp. 264–268. 3856:, pp. 258–260. 3820:, pp. 252–254. 3753:, pp. 242–244. 3705:, pp. 233–234. 3669:, pp. 214–216. 3657:, pp. 216–225. 3645:, pp. 204–208. 3609:, pp. 242–243. 3519:on 17 December 2011 3485:, pp. 198–201. 3473:, pp. 186–189. 3461:fanzine, 11/03/1990 3340:, pp. 195–196. 3287:, pp. 192–193. 3263:, pp. 182–183. 3251:, pp. 190–191. 3215:, pp. 173–178. 3167:, pp. 157–166. 3136:, pp. 163–164. 3124:, pp. 161–163. 3088:, pp. 138–150. 3048:www.spacemen3.co.uk 3020:, pp. 124–127. 3008:, pp. 132–133. 2988:album liner notes, 2955:, pp. 108–112. 2943:, pp. 107–108. 2831:Album liner notes, 2688:on 3 September 2011 2226:Live in Europe 1989 2032:Live in Europe 1989 1557:My Bloody Valentine 1482:The Flowers of Hell 1150:A third guitarist, 1137:She Bangs The Drums 743:My Bloody Valentine 333:Rugby, Warwickshire 238:Rugby, Warwickshire 108:Rugby, Warwickshire 5342:Walkin' With Jesus 5221:Sound of Confusion 5061:on 17 August 2011. 5026:on 17 August 2011. 4951:General references 4492:. 7 February 2011. 4450:. 10 October 2002. 4319:on 11 August 2010. 4067:on 14 October 2013 2883:, pp. 92, 96. 2833:Sound of Confusion 2795:, pp. 77, 87. 2278:Out of It Sessions 2143:(Father Yod) 1990 2045:Compilation albums 1926:Sound of Confusion 1661:The Rolling Stones 897:Silvertone Records 878:Completion of the 517:Sound of Confusion 501:Sound of Confusion 489:Sound of Confusion 412:Sound of Confusion 278:Sound of Confusion 93:Spacemen 3 in 1989 5420: 5419: 5235:Playing with Fire 5009:978-0-7119-9602-1 5003:. Omnibus Press. 4968:978-0-7119-9602-1 4932:Martin C. (2000) 4703:"Neumu - 44.1kHz" 4589:978-1-84836-003-7 2919:, pp. 97–98. 2819:, pp. 87–91. 2770:, pp. 72–75. 2758:, pp. 71–72. 2746:, pp. 70–71. 2722:, pp. 67–68. 2710:, pp. 59–60. 2667:, pp. 61–65. 2631:, pp. 55–57. 2619:, pp. 51–55. 2448:"Rugby News Reel" 2252:Playing with Fire 2247:Playing with Fire 2177: 2169: 2161: 2153: 2145: 2135:Unofficial albums 2130: 2128:(Space Age) 2004 2120: 2118:(Space Age) 1999 2115:Playing with Fire 2089: 2062:Singles & EPs 2057: 2040: 2028: 2018:– UK Indie no. 18 2017: 2002: 2001: 1964:Playing with Fire 1883:, was published. 1812: 1808: 1802: 1792: 1781: 1778:Flute – Pat Fish 1774: 1767: 1760: 1749: 1478:Dean & Britta 1357:Playing with Fire 1300:Playing with Fire 1270:'splinter' band, 1232:win-win situation 1224:Dedicated Records 1074:Playing with Fire 1014:Playing with Fire 1003:Playing with Fire 972:Playing with Fire 926:Playing with Fire 922:Playing with Fire 914:Playing with Fire 906:Playing with Fire 893:Playing with Fire 880:Playing with Fire 808:Playing with Fire 800:Playing with Fire 779:Playing with Fire 758:Playing with Fire 750:Playing with Fire 727:Playing with Fire 711:Playing with Fire 446:Fender Telecaster 419:Northampton demos 290:Playing with Fire 231: 230: 178:Dedicated Records 73: 72: 5485: 5380:Related articles 5142: 5135: 5128: 5119: 5118: 5113: 5062: 5039: 5027: 4976:Record Collector 4972: 4944: 4930: 4924: 4923: 4921: 4919: 4905: 4899: 4898: 4896: 4894: 4880: 4874: 4873: 4855: 4849: 4848: 4837: 4818: 4815:Record Collector 4812: 4793: 4787: 4785: 4783: 4774:. Archived from 4764: 4758: 4757: 4754:Amapianosong.com 4746: 4740: 4737: 4718: 4717: 4715: 4713: 4701:Carew, Anthony. 4698: 4692: 4691: 4689: 4687: 4680:Far Out Magazine 4670: 4664: 4663: 4661: 4659: 4642: 4636: 4635: 4633: 4631: 4616: 4610: 4609: 4600: 4594: 4593: 4573: 4567: 4566: 4564: 4562: 4547: 4541: 4540: 4538: 4536: 4521: 4515: 4512: 4506: 4500: 4494: 4493: 4482: 4476: 4470: 4464: 4458: 4452: 4451: 4444: 4433: 4432: 4420: 4414: 4413: 4412:. 9 August 2010. 4402: 4396: 4395: 4379: 4373: 4372: 4356: 4350: 4346: 4340: 4339: 4327: 4321: 4320: 4309: 4303: 4302: 4300: 4298: 4289:. Archived from 4279: 4273: 4272: 4261: 4255: 4254: 4252: 4250: 4241:. Archived from 4231: 4225: 4224: 4213: 4207: 4206: 4195: 4189: 4188: 4186: 4184: 4167: 4161: 4160: 4158: 4156: 4139: 4133: 4132: 4130: 4128: 4111: 4105: 4104: 4102: 4100: 4088:"MGMT Interview" 4083: 4077: 4076: 4074: 4072: 4063:. Archived from 4055:Carew, Anthony. 4052: 4046: 4040: 4031: 4025: 4019: 4013: 4007: 4001: 3995: 3989: 3983: 3977: 3971: 3965: 3959: 3953: 3947: 3941: 3935: 3932: 3926: 3920: 3914: 3908: 3902: 3899: 3893: 3887: 3881: 3875: 3869: 3863: 3857: 3851: 3845: 3839: 3833: 3827: 3821: 3815: 3809: 3803: 3797: 3791: 3785: 3779: 3773: 3767: 3754: 3748: 3742: 3736: 3730: 3724: 3718: 3712: 3706: 3700: 3694: 3688: 3682: 3676: 3670: 3664: 3658: 3652: 3646: 3640: 3634: 3628: 3622: 3616: 3610: 3604: 3598: 3592: 3583: 3577: 3568: 3562: 3553: 3547: 3541: 3535: 3529: 3528: 3526: 3524: 3515:. Archived from 3507:Carew, Anthony. 3504: 3498: 3492: 3486: 3480: 3474: 3468: 3462: 3456: 3441: 3435: 3429: 3423: 3417: 3411: 3402: 3396: 3385: 3379: 3370: 3364: 3358: 3352: 3341: 3335: 3329: 3323: 3312: 3306: 3300: 3294: 3288: 3282: 3276: 3270: 3264: 3258: 3252: 3246: 3240: 3234: 3228: 3222: 3216: 3210: 3204: 3198: 3192: 3186: 3180: 3174: 3168: 3162: 3156: 3155: 3143: 3137: 3131: 3125: 3119: 3113: 3107: 3101: 3095: 3089: 3083: 3077: 3071: 3065: 3063: 3061: 3059: 3050:. Archived from 3040: 3021: 3015: 3009: 3003: 2997: 2986: 2980: 2974: 2968: 2962: 2956: 2950: 2944: 2938: 2932: 2926: 2920: 2914: 2908: 2902: 2896: 2890: 2884: 2878: 2872: 2866: 2860: 2854: 2848: 2842: 2836: 2829: 2820: 2814: 2808: 2802: 2796: 2790: 2784: 2777: 2771: 2765: 2759: 2753: 2747: 2741: 2735: 2729: 2723: 2717: 2711: 2705: 2699: 2697: 2695: 2693: 2684:. Archived from 2674: 2668: 2662: 2656: 2650: 2644: 2638: 2632: 2626: 2620: 2614: 2608: 2605:Record Collector 2602: 2549: 2543: 2514: 2508: 2502: 2496: 2463: 2462: 2460: 2458: 2444: 2438: 2432: 2421: 2406: 2377: 2376: 2374: 2372: 2354: 2230:Spacemen Are Go! 2176: 2168: 2160: 2152: 2144: 2129: 2119: 2088: 2056: 2039: 2036:Spacemen Are Go! 2027: 2016: 1907: 1906: 1904: 1903: 1899: 1837: 1823:Record Collector 1810: 1804: 1798: 1789:The Jazz Butcher 1786: 1779: 1772: 1765: 1757:The Jazz Butcher 1754: 1743: 1695:alternative rock 1647: 1524:Sterling Roswell 1458: 1442: 1420: 1401: 1380: 1163:Reading Festival 1059: 1044: 997: 993:David Cavanagh, 983: 966: 952: 868: 858: 685:Creation Records 671: 552: 505:Record Collector 499:The seven-track 405:The Jazz Butcher 194: 158: 137:psychedelic rock 132:alternative rock 91: 77: 76: 68: 65: 59: 27: 26: 19: 5493: 5492: 5488: 5487: 5486: 5484: 5483: 5482: 5423: 5422: 5421: 5416: 5375: 5329: 5311: 5279: 5247: 5208: 5181:Will Carruthers 5151: 5146: 5108: 5073:Forced Exposure 5055:spacemen3.co.uk 5049: 5030: 5020:spacemen3.co.uk 5014: 4991: 4989:Further reading 4969: 4953: 4948: 4947: 4931: 4927: 4917: 4915: 4907: 4906: 4902: 4892: 4890: 4882: 4881: 4877: 4870: 4856: 4852: 4839: 4838: 4821: 4813: 4796: 4781: 4779: 4766: 4765: 4761: 4756:. 16 July 2019. 4748: 4747: 4743: 4738: 4721: 4711: 4709: 4699: 4695: 4685: 4683: 4671: 4667: 4657: 4655: 4643: 4639: 4629: 4627: 4619:Ankeny, Jason. 4617: 4613: 4602: 4601: 4597: 4590: 4574: 4570: 4560: 4558: 4550:Kellman, Andy. 4548: 4544: 4534: 4532: 4522: 4518: 4513: 4509: 4501: 4497: 4484: 4483: 4479: 4471: 4467: 4459: 4455: 4446: 4445: 4436: 4421: 4417: 4404: 4403: 4399: 4390: 4387:Wayback Machine 4380: 4376: 4367: 4364:Wayback Machine 4357: 4353: 4347: 4343: 4328: 4324: 4311: 4310: 4306: 4296: 4294: 4281: 4280: 4276: 4263: 4262: 4258: 4248: 4246: 4245:on 2 April 2012 4233: 4232: 4228: 4215: 4214: 4210: 4197: 4196: 4192: 4182: 4180: 4168: 4164: 4154: 4152: 4141: 4140: 4136: 4126: 4124: 4113: 4112: 4108: 4098: 4096: 4084: 4080: 4070: 4068: 4053: 4049: 4041: 4034: 4026: 4022: 4014: 4010: 4002: 3998: 3994:, pp. 272. 3990: 3986: 3978: 3974: 3966: 3962: 3954: 3950: 3942: 3938: 3933: 3929: 3921: 3917: 3913:, pp. 266. 3909: 3905: 3900: 3896: 3888: 3884: 3876: 3872: 3864: 3860: 3852: 3848: 3844:, pp. 254. 3840: 3836: 3828: 3824: 3816: 3812: 3804: 3800: 3792: 3788: 3780: 3776: 3768: 3757: 3749: 3745: 3737: 3733: 3725: 3721: 3713: 3709: 3701: 3697: 3689: 3685: 3677: 3673: 3665: 3661: 3653: 3649: 3641: 3637: 3629: 3625: 3617: 3613: 3605: 3601: 3597:, pp. 213. 3593: 3586: 3578: 3571: 3563: 3556: 3548: 3544: 3540:, pp. 209. 3536: 3532: 3522: 3520: 3505: 3501: 3497:, pp. 205. 3493: 3489: 3481: 3477: 3469: 3465: 3457: 3444: 3436: 3432: 3424: 3420: 3412: 3405: 3397: 3388: 3380: 3373: 3365: 3361: 3353: 3344: 3336: 3332: 3324: 3315: 3311:, pp. 193. 3307: 3303: 3295: 3291: 3283: 3279: 3271: 3267: 3259: 3255: 3247: 3243: 3235: 3231: 3223: 3219: 3211: 3207: 3199: 3195: 3187: 3183: 3175: 3171: 3163: 3159: 3152:Theguardian.com 3144: 3140: 3132: 3128: 3120: 3116: 3112:, pp. 180. 3108: 3104: 3096: 3092: 3084: 3080: 3072: 3068: 3057: 3055: 3054:on 2 April 2012 3042: 3041: 3024: 3016: 3012: 3004: 3000: 2987: 2983: 2975: 2971: 2963: 2959: 2951: 2947: 2939: 2935: 2927: 2923: 2915: 2911: 2903: 2899: 2891: 2887: 2879: 2875: 2867: 2863: 2855: 2851: 2843: 2839: 2835:1994 re-release 2830: 2823: 2815: 2811: 2803: 2799: 2791: 2787: 2778: 2774: 2766: 2762: 2754: 2750: 2742: 2738: 2730: 2726: 2718: 2714: 2706: 2702: 2691: 2689: 2676: 2675: 2671: 2663: 2659: 2651: 2647: 2639: 2635: 2627: 2623: 2615: 2611: 2603: 2552: 2544: 2517: 2509: 2505: 2499:Forced Exposure 2497: 2466: 2456: 2454: 2446: 2445: 2441: 2433: 2424: 2407: 2380: 2370: 2368: 2355: 2302: 2297: 1954:UK Indie no. 13 1905: 1901: 1897: 1895: 1894: 1889: 1866:Bowery Electric 1835: 1819: 1741:Josephine Wiggs 1733: 1728: 1727: 1725: 1721: 1716: 1711: 1645: 1623:magic mushrooms 1597:neo-psychedelia 1565: 1493:Will Carruthers 1465: 1459: 1452: 1443: 1437:Jason Pierce – 1436: 1421: 1414: 1402: 1390: 1381: 1372: 1325: 1244: 1220: 1143:'s end of year 1133:The Stone Roses 1087: 1082: 1060: 1054: 1045: 1036: 1020:, the label of 998: 992: 984: 979:Chris Roberts, 978: 967: 962:Paul Oldfield, 961: 953: 944: 918: 889: 866: 859: 852: 833:'s end-of-year 770:Wings of Desire 720: 715: 669: 656:Will Carruthers 641: 586: 581: 553: 547: 484: 438:electric guitar 421: 416: 321: 316: 250:neo-psychedelia 224: 220: 218:Will Carruthers 216: 212: 210: 206: 204: 200: 192: 156: 151: 122:Neo-psychedelia 94: 82: 69: 63: 60: 41: 28: 24: 17: 12: 11: 5: 5491: 5481: 5480: 5475: 5470: 5465: 5460: 5455: 5450: 5445: 5440: 5435: 5418: 5417: 5415: 5414: 5412:Freelovebabies 5409: 5404: 5399: 5394: 5389: 5383: 5381: 5377: 5376: 5374: 5373: 5366: 5359: 5352: 5345: 5337: 5335: 5331: 5330: 5328: 5327: 5319: 5317: 5313: 5312: 5310: 5309: 5302: 5295: 5287: 5285: 5281: 5280: 5278: 5277: 5270: 5263: 5255: 5253: 5249: 5248: 5246: 5245: 5238: 5231: 5224: 5216: 5214: 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3169: 3157: 3138: 3126: 3114: 3102: 3090: 3078: 3066: 3022: 3010: 2998: 2981: 2969: 2957: 2945: 2933: 2931:, pp. 19. 2921: 2909: 2897: 2895:, pp. 96. 2885: 2873: 2861: 2859:, pp. 91. 2849: 2847:, pp. 87. 2837: 2821: 2809: 2797: 2785: 2772: 2760: 2748: 2736: 2734:, pp. 70. 2724: 2712: 2700: 2669: 2657: 2655:, pp. 64. 2645: 2643:, pp. 58. 2633: 2621: 2609: 2550: 2515: 2503: 2464: 2439: 2437:, Spring 1991. 2422: 2378: 2299: 2298: 2296: 2293: 2179: 2178: 2170: 2167:(Fierce) 1995 2162: 2154: 2146: 2132: 2131: 2121: 2105: 2104: 2097: 2090: 2085: 2082: 2081:" (Glass) 1988 2075: 2068: 2059: 2058: 2042: 2041: 2034:(Space Age) / 2029: 2026:(Cheree) 1990 2019: 2000: 1999: 1996: 1990: 1987: 1979: 1978: 1973: 1972:UK Indie no. 1 1970: 1967: 1959: 1958: 1955: 1952: 1949: 1941: 1940: 1935: 1934:UK Indie no. 2 1932: 1929: 1921: 1920: 1917: 1914: 1911: 1893: 1890: 1888: 1885: 1818: 1815: 1795: 1794: 1783: 1776: 1769: 1762: 1751: 1737: 1732: 1729: 1723: 1720: 1717: 1715: 1712: 1710: 1707: 1564: 1561: 1551:(vocals), and 1513:Freelovebabies 1464: 1461: 1450: 1434: 1412: 1388: 1373:Steve Malins, 1370: 1324: 1321: 1243: 1240: 1219: 1216: 1195:The Telescopes 1086: 1083: 1081: 1078: 1052: 1034: 990: 976: 959: 942: 917: 910: 888: 885: 850: 796:Thee Hypnotics 748:Recording for 719: 716: 714: 708: 640: 637: 596:sound engineer 585: 582: 580: 574: 545: 483: 480: 420: 417: 415: 409: 320: 317: 315: 312: 229: 228: 195: 189: 188: 185: 184: 167: 163: 162: 159: 153: 152: 150: 149: 144: 139: 134: 129: 124: 118: 116: 112: 111: 105: 101: 100: 96: 95: 92: 84: 83: 80: 71: 70: 50:it, or adding 31: 29: 22: 15: 9: 6: 4: 3: 2: 5490: 5479: 5476: 5474: 5471: 5469: 5466: 5464: 5461: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5441: 5439: 5436: 5434: 5431: 5430: 5428: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5387:Spiritualized 5385: 5384: 5382: 5378: 5371: 5367: 5364: 5360: 5357: 5353: 5350: 5346: 5343: 5339: 5338: 5336: 5332: 5326: 5325: 5321: 5320: 5318: 5314: 5308: 5307: 5303: 5301: 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3747: 3740: 3735: 3728: 3723: 3716: 3711: 3704: 3699: 3692: 3687: 3680: 3675: 3668: 3663: 3656: 3651: 3644: 3639: 3632: 3627: 3620: 3615: 3608: 3603: 3596: 3591: 3589: 3582:, Spring 1989 3581: 3576: 3574: 3567:, Spring 1989 3566: 3561: 3559: 3552:, Spring 1989 3551: 3546: 3539: 3534: 3518: 3514: 3510: 3503: 3496: 3491: 3484: 3479: 3472: 3467: 3460: 3459:Sniffin' Rock 3455: 3453: 3451: 3449: 3447: 3439: 3434: 3427: 3422: 3415: 3410: 3408: 3400: 3395: 3393: 3391: 3384:, Summer 1988 3383: 3378: 3376: 3368: 3363: 3356: 3351: 3349: 3347: 3339: 3334: 3327: 3322: 3320: 3318: 3310: 3305: 3298: 3293: 3286: 3281: 3274: 3269: 3262: 3257: 3250: 3245: 3238: 3233: 3226: 3221: 3214: 3209: 3202: 3197: 3190: 3185: 3178: 3173: 3166: 3161: 3153: 3149: 3142: 3135: 3130: 3123: 3118: 3111: 3106: 3099: 3094: 3087: 3082: 3075: 3070: 3053: 3049: 3045: 3039: 3037: 3035: 3033: 3031: 3029: 3027: 3019: 3014: 3007: 3002: 2995: 2991: 2985: 2978: 2973: 2967:, Autumn 1987 2966: 2961: 2954: 2949: 2942: 2937: 2930: 2925: 2918: 2913: 2906: 2901: 2894: 2889: 2882: 2877: 2870: 2865: 2858: 2853: 2846: 2841: 2834: 2828: 2826: 2818: 2813: 2806: 2801: 2794: 2789: 2782: 2776: 2769: 2764: 2757: 2752: 2745: 2740: 2733: 2728: 2721: 2716: 2709: 2704: 2687: 2683: 2682:Altered Zones 2679: 2673: 2666: 2661: 2654: 2649: 2642: 2637: 2630: 2625: 2618: 2613: 2606: 2601: 2599: 2597: 2595: 2593: 2591: 2589: 2587: 2585: 2583: 2581: 2579: 2577: 2575: 2573: 2571: 2569: 2567: 2565: 2563: 2561: 2559: 2557: 2555: 2547: 2542: 2540: 2538: 2536: 2534: 2532: 2530: 2528: 2526: 2524: 2522: 2520: 2512: 2507: 2500: 2495: 2493: 2491: 2489: 2487: 2485: 2483: 2481: 2479: 2477: 2475: 2473: 2471: 2469: 2453: 2449: 2443: 2436: 2431: 2429: 2427: 2419: 2418:0-9517206-9-4 2415: 2411: 2405: 2403: 2401: 2399: 2397: 2395: 2393: 2391: 2389: 2387: 2385: 2383: 2367: 2363: 2359: 2353: 2351: 2349: 2347: 2345: 2343: 2341: 2339: 2337: 2335: 2333: 2331: 2329: 2327: 2325: 2323: 2321: 2319: 2317: 2315: 2313: 2311: 2309: 2307: 2305: 2300: 2292: 2290: 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1738: 1735: 1734: 1706: 1704: 1700: 1696: 1692: 1687: 1685: 1680: 1678: 1674: 1670: 1664: 1662: 1658: 1653: 1651: 1644: 1640: 1636: 1632: 1628: 1624: 1620: 1616: 1611: 1609: 1605: 1600: 1598: 1594: 1590: 1586: 1582: 1579:' and simple 1578: 1574: 1570: 1560: 1558: 1554: 1553:Kevin Shields 1550: 1544: 1542: 1536: 1534: 1529: 1525: 1520: 1518: 1514: 1510: 1509:Pet Shop Boys 1506: 1502: 1498: 1497:Jonny Mattock 1494: 1490: 1487: 1486:Spiritualized 1483: 1479: 1475: 1471: 1457:, April 1991. 1456: 1449: 1441:, 09/02/1991. 1440: 1433: 1429: 1427: 1418: 1411: 1408: 1399: 1398: 1393: 1387: 1378: 1377: 1369: 1365: 1362: 1358: 1354: 1351:The songs on 1349: 1347: 1346: 1340: 1338: 1334: 1330: 1320: 1318: 1312: 1307: 1303: 1301: 1296: 1293: 1287: 1285: 1279: 1277: 1273: 1272:Spiritualized 1267: 1265: 1261: 1257: 1252: 1249: 1239: 1235: 1233: 1229: 1225: 1215: 1211: 1207: 1204: 1200: 1196: 1191: 1187: 1185: 1184: 1178: 1174: 1170: 1166: 1164: 1160: 1155: 1153: 1148: 1146: 1145:Festive Fifty 1142: 1138: 1134: 1130: 1126: 1122: 1118: 1114: 1110: 1106: 1101: 1098: 1094: 1090: 1077: 1075: 1071: 1065: 1058: 1055:Danny Kelly, 1051: 1043: 1039: 1033: 1028: 1025: 1023: 1019: 1018:Bomp! Records 1015: 1010: 1008: 1004: 996: 989: 982: 975: 973: 965: 958: 951: 947: 941: 937: 935: 931: 927: 923: 915: 909: 907: 903: 898: 894: 884: 881: 876: 873: 865: 856: 849: 844: 842: 841: 836: 835:Festive Fifty 832: 828: 822: 820: 815: 813: 809: 805: 804:Jonny Mattock 801: 797: 793: 788: 786: 785: 780: 776: 772: 771: 766: 761: 759: 755: 751: 746: 744: 740: 735: 732: 728: 723: 713:era (1988–89) 712: 707: 704: 700: 699: 692: 690: 686: 681: 679: 673: 668: 664: 659: 657: 652: 650: 645: 636: 632: 630: 626: 623: 618: 614: 612: 608: 604: 599: 597: 593: 592: 579:era (1987–88) 578: 573: 569: 567: 563: 559: 550: 544: 539: 537: 536: 531: 525: 523: 518: 514: 512: 511: 506: 502: 497: 493: 491: 490: 479: 477: 476:Glass Records 472: 470: 466: 462: 458: 453: 451: 447: 443: 439: 434: 429: 427: 413: 408: 406: 402: 396: 394: 389: 385: 380: 378: 374: 370: 369: 364: 358: 356: 349: 347: 342: 339: 334: 330: 326: 311: 309: 308:Spiritualized 305: 300: 298: 297: 292: 291: 286: 285: 280: 279: 274: 270: 266: 261: 259: 255: 251: 247: 243: 239: 235: 227: 223: 222:Jonny Mattock 219: 215: 211:Natty Brooker 209: 203: 199: 196: 190: 186: 183: 179: 175: 171: 168: 164: 160: 154: 148: 145: 143: 140: 138: 135: 133: 130: 128: 125: 123: 120: 119: 117: 113: 109: 106: 102: 97: 90: 85: 78: 75: 67: 57: 53: 49: 45: 39: 37: 32:This article 30: 21: 20: 5402:The Darkside 5322: 5304: 5297: 5290: 5284:Compilations 5272: 5265: 5258: 5240: 5233: 5226: 5219: 5168:Jason Pierce 5166: 5161:Peter Kember 5159: 5148: 5102: 5096: 5090: 5085:Melody Maker 5084: 5078: 5072: 5066: 5065: 5059:the original 5054: 5043: 5042: 5035: 5032:"Spacemen 3" 5024:the original 5019: 5000: 4994:Biographies: 4993: 4992: 4982:Outer Limits 4981: 4975: 4958: 4933: 4928: 4916:. Retrieved 4903: 4891:. Retrieved 4878: 4859: 4853: 4844: 4841:"Spacemen 3" 4814: 4789: 4782:14 September 4780:. Retrieved 4776:the original 4771: 4762: 4753: 4744: 4710:. Retrieved 4696: 4684:. Retrieved 4678: 4668: 4656:. Retrieved 4650: 4640: 4628:. Retrieved 4614: 4604: 4598: 4578: 4571: 4559:. Retrieved 4545: 4533:. Retrieved 4519: 4510: 4498: 4489: 4480: 4475:, 18/03/1989 4472: 4468: 4460: 4456: 4429:RVA Magazine 4428: 4418: 4409: 4400: 4383:Ghostarchive 4381:Archived at 4377: 4360:Ghostarchive 4358:Archived at 4354: 4344: 4335: 4325: 4317:the original 4307: 4297:23 September 4295:. Retrieved 4291:the original 4286: 4277: 4269:the original 4259: 4249:13 September 4247:. Retrieved 4243:the original 4238: 4229: 4220: 4211: 4202: 4193: 4181:. Retrieved 4175: 4165: 4153:. Retrieved 4146: 4137: 4125:. Retrieved 4118: 4109: 4097:. Retrieved 4091: 4081: 4071:28 September 4069:. Retrieved 4065:the original 4060: 4050: 4042: 4028:Melody Maker 4027: 4023: 4011: 3999: 3987: 3975: 3963: 3951: 3939: 3930: 3918: 3906: 3897: 3885: 3873: 3861: 3849: 3837: 3825: 3813: 3801: 3789: 3777: 3772:, April 1991 3769: 3746: 3734: 3722: 3710: 3698: 3686: 3674: 3662: 3650: 3638: 3633:, 18/3/1989. 3630: 3626: 3614: 3602: 3579: 3565:Melody Maker 3564: 3549: 3545: 3533: 3523:13 September 3521:. Retrieved 3517:the original 3512: 3502: 3490: 3478: 3466: 3458: 3437: 3433: 3428:, 07/03/1989 3425: 3421: 3416:, April 1989 3413: 3401:, 05/12/1988 3398: 3381: 3366: 3362: 3354: 3333: 3328:, 19/11/1988 3326:Melody Maker 3325: 3304: 3299:, 05/12/1988 3296: 3292: 3280: 3268: 3256: 3244: 3232: 3220: 3208: 3196: 3184: 3172: 3160: 3151: 3141: 3129: 3117: 3105: 3093: 3081: 3069: 3058:19 September 3056:. 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157:Years active 74: 64:October 2020 61: 33: 5267:Dreamweapon 5260:Performance 5252:Live albums 4788:Rocketgirl 4772:Rocket Girl 4183:9 September 4155:9 September 4127:9 September 4099:9 September 3440:, 11/3/1989 3414:Lime Lizard 3369:, 29/7/1989 3239:, p. 4 2996:re-release. 2276:called the 2239:Performance 2201:drone music 2196:Dreamweapon 2023:Dreamweapon 2012:Performance 2005:Live albums 1887:Discography 1850:Rocket Girl 1844:In 1998, a 1699:garage rock 1684:drone music 1631:amphetamine 1593:garage rock 1535:, in 2004. 1415:John Robb, 1103:The single 946:Danny Kelly 784:Dreamweapon 649:Kate Radley 603:Red Crayola 482:Debut album 393:psychedelic 384:Northampton 287:(1987) and 265:the Stooges 142:garage rock 52:subheadings 5427:Categories 5407:Slipstream 5392:Sonic Boom 5363:Hypnotized 5356:Revolution 5192:Tim Morris 5186:Mark Refoy 5149:Spacemen 3 5036:Sonic Boom 4503:Morse 2004 4016:Morse 2004 4004:Morse 2004 3992:Morse 2004 3980:Morse 2004 3968:Morse 2004 3956:Morse 2004 3944:Morse 2004 3923:Morse 2004 3911:Morse 2004 3890:Morse 2004 3878:Morse 2004 3866:Morse 2004 3854:Morse 2004 3842:Morse 2004 3830:Morse 2004 3818:Morse 2004 3806:Morse 2004 3794:Morse 2004 3782:Morse 2004 3751:Morse 2004 3739:Morse 2004 3727:Morse 2004 3715:Morse 2004 3703:Morse 2004 3691:Morse 2004 3679:Morse 2004 3667:Morse 2004 3655:Morse 2004 3643:Morse 2004 3619:Morse 2004 3607:Morse 2004 3595:Morse 2004 3538:Morse 2004 3495:Morse 2004 3483:Morse 2004 3471:Morse 2004 3338:Morse 2004 3309:Morse 2004 3285:Morse 2004 3273:Morse 2004 3261:Morse 2004 3249:Morse 2004 3237:Morse 2004 3225:Morse 2004 3213:Morse 2004 3201:Morse 2004 3189:Morse 2004 3177:Morse 2004 3165:Morse 2004 3134:Morse 2004 3122:Morse 2004 3110:Morse 2004 3098:Morse 2004 3086:Morse 2004 3074:Morse 2004 3018:Morse 2004 3006:Morse 2004 2977:Morse 2004 2953:Morse 2004 2941:Morse 2004 2929:Morse 2004 2917:Morse 2004 2893:Morse 2004 2881:Morse 2004 2857:Morse 2004 2845:Morse 2004 2817:Morse 2004 2793:Morse 2004 2768:Morse 2004 2756:Morse 2004 2744:Morse 2004 2732:Morse 2004 2720:Morse 2004 2708:Morse 2004 2665:Morse 2004 2653:Morse 2004 2641:Morse 2004 2629:Morse 2004 2617:Morse 2004 2511:Morse 2004 2371:9 November 2295:References 2094:Hypnotized 1877:Erik Morse 1870:Bardo Pond 1703:blues rock 1691:space rock 1669:Martin Rev 1505:Slipstream 1501:Mark Refoy 1474:Panda Bear 1152:Mark Refoy 1121:Hypnotized 812:Mark Refoy 689:Alan McGee 465:production 414:era (1986) 395:backdrop. 373:The Cramps 234:Spacemen 3 226:Mark Refoy 205:Tim Morris 147:blues rock 127:space rock 81:Spacemen 3 48:condensing 5242:Recurring 5176:Pete Bain 4410:Pitchfork 4235:"Bassman" 4093:Pitchfork 1984:Recurring 1806:Recurring 1709:Personnel 1673:Alan Vega 1604:Alan Vega 1541:Recurring 1426:Recurring 1407:Recurring 1361:Recurring 1353:Recurring 1345:Recurring 1337:Recurring 1317:Recurring 1292:Recurring 1284:Recurring 1260:Recurring 1248:Recurring 1183:Recurring 1141:John Peel 1038:John Robb 1022:Greg Shaw 872:methadone 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