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**Ocean Colour Scene - Marchin' Already**
★★★★☆

When Ocean Colour Scene hit their creative peak with 1996's "Moseley Shoals," few could have predicted that their follow-up would be anything but a victory lap. Yet "Marchin' Already," released in 1997, proved to be something far more interesting – a band grappling with newfound fame while pushing their Britpop-adjacent sound into grittier, more experimental territory. While it may not quite reach the dizzying heights of its predecessor, this album stands as a fascinating snapshot of a group refusing to play it safe at the height of their powers.

The Birmingham quartet had spent the early '90s toiling in relative obscurity, despite their impressive pedigree as former backing musicians for Paul Weller. Their breakthrough came when Noel Gallagher championed them during Oasis's meteoric rise, leading to support slots and eventually the massive success of "Moseley Shoals." That album's perfect storm of retro-soul grooves, psychedelic flourishes, and anthemic choruses had made them unlikely stars in an era dominated by sneering attitude and guitar squall.

Coming off such a high, "Marchin' Already" finds Ocean Colour Scene in a curious position – simultaneously more confident and more restless. The album opens with the title track, a swaggering rocker that immediately signals the band's intent to get heavier. Simon Fowler's vocals, always the group's secret weapon, sound more weathered and world-weary than before, while the rhythm section of Damon Minchella and Oscar Harrison drives everything forward with relentless momentum. It's a statement of purpose that works brilliantly.

The real gems, however, come when the band balances their newfound aggression with their innate melodic sensibilities. "Hundred Mile High City" stands as perhaps the album's finest moment, building from a gentle acoustic opening into a soaring anthem that recalls the best of "Moseley Shoals" while pointing toward new possibilities. Steve Cradock's guitar work throughout is particularly inspired, weaving between chunky riffs and delicate arpeggios with the kind of intuitive musicality that made the band so appealing to begin with.

"Better Day" showcases another facet of their evolution, with its gospel-tinged backing vocals and horn arrangements courtesy of the Kick Horns adding layers of sophistication to what could have been a straightforward rocker. Meanwhile, "It's My Shadow" delves into darker psychological territory, both lyrically and musically, suggesting a band willing to explore the complexities that come with success and maturity.

The album's production, handled by Brendan Lynch, deserves particular praise for capturing the band's live energy while allowing space for the more intricate arrangements. There's a warmth and organic feel that was increasingly rare in the late '90s, when many of their contemporaries were drowning in digital effects and studio trickery.

That said, "Marchin' Already" isn't without its missteps. Some tracks feel like the band trying too hard to prove their rock credentials, lacking the effortless groove that made their best work so irresistible. The album's 16-track length also works against it at times, with a few songs feeling like padding rather than essential statements.

In the broader context of Ocean Colour Scene's career, "Marchin' Already" represents both a creative peak and the beginning of a slow decline. While subsequent albums like "One from the Modern" and "Mechanical Wonder" had their moments, none quite captured the magic of this period. The band became increasingly nostalgic, both in their sound and cultural positioning, eventually settling into a comfortable niche as purveyors of classic British rock for the post-Britpop generation.

Today, "Marchin' Already" sounds remarkably fresh, its blend of retro influences and contemporary energy aging better than much of the era's more fashionable output. Ocean Colour Scene may never have achieved the lasting cultural impact of their Oasis and Blur contemporaries, but albums like this prove they were far more than mere nostalgia merchants. They were skilled craftsmen of song, capable of channeling decades of British rock history into something that felt both timeless and immediate.

For those who lived through Britpop's heyday, "Marchin' Already" serves as a reminder of a time when guitar bands could still surprise you. For newcomers, it's an excellent entry point into a catalog that deserves