If there was any question that Damon Albarn was positioning himself as the Ray Davies of the nineties with Parklife, The Great Escape shot any doubts dead. The Davies who spat at commercialization with "Holiday in Waikiki", gently mocked the ruined rich with "Sunny Afternoon", guffawed at trendiness with "Dedicated Follower of Fashion", and expressed disdain for a cad with "Dandy" was alive and alright in 1995 thanks to Albarn channeling him to craft such withering commentaries as "Dan Abnormal", "Stereotypes", "Charmless Man", "Top Man", and the positively Arthurian (the album, not the king) "Mr. Robinson's Quango".
Emerging at the peak of the brit-pop boom, Holly Golightly was a bit of an odd duck. Unlike Blur, Oasis, Charlatans, and the rest, she sidestepped the most Union Jacky, tea-sipping mid-sixties references to dredge up the swampy blues of the early Stones and Animals. Hard riffs, harder backbeats, and 1-4-5 progressions were her stock-in-trade, and she began to prolifically grind out raw records beginning with 1995's The Good Things.
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