Supergrass

1	Moving 4:26
2	Your Love 3:27
3	What Went Wrong (In Your Head) 4:05
4	Beautiful People 3:22
5	Shotover Hill 3:42
6	Eon 3:44
7	Mary 3:59
8	Jesus Came from Outta Space 4:10
9	Pumping on Your Stereo 3:20
10	Born Again 3:38
11	Far Away 5:05
12	Mama & Papa 2:32

Barnes & Noble

In the mid-'90s, Supergrass emerged from London as a poppy, peppy antidote to the pretentiousness of acts like the London Suede and Pulp. Dubbed the "new Monkees" because of their silly, brazen antics, Supergrass were musically more like a hyperactive cross between the Jam and the Buzzcocks on their first album, I SHOULD COCO. Over time, however, the Grass have gradually grown into a more emotionally mature and creative outfit. Their departure from adolescence began in 1997 with the dynamic IN IT FOR THE MONEY, and reaches adulthood with this self-titled disc, which betrays the influence of John Lennon's solo work, early Kinks, and David Bowie. More sonically relaxed than Supergrass's earlier material, songs like "Moving," "Eon," and "What Went Wrong (in Your Head)" display newfound confidence and sentimentality as the band flirts with more intricate arrangements and more personal subject matter. But while lines like "When I come here I don't feel so alone/I'm just trying to carry on with the life I've made" ("Shotover Hill") display a sense of introspection, tracks like "Jesus Came from Outta Space" prove that Supergrass certainly haven't lost their sense of humor. Jon Wiederhorn

All Music Guide

Essentially, Supergrass' eponymous third album is a refined, subdued extension of In It for the Money. Where that album was a supremely confident, head-spinning musical kaleidoscope, splendidly shifting focus from track to track, Supergrass is down to earth, mellow, and unassuming. Part of the trio's charm has always been that they're unabashedly unpretentious, since their casual attitude made their considerable musical skill all the more impressive. On Supergrass, that casualness occasionally crosses the line into laziness. It doesn't happen all that often, but there are moments on the album that feel tossed-off, such as "What Went Wrong (In Your Head)" and "Beautiful People." This is particularly evident because these also-rans are surrounded by songs that are as great as anything Supergrass has ever recorded -- the harpsichord-driven, pulsing "Your Love"; the stately, sophisticated "Shotover Hill"; the gleeful absurdity of "Jesus Came From Outta Space"; or the breezy, infectious summer single "Pumping on Your Stereo." The disparity in material also hammers home the point that Supergrass doesn't quite gel, the way their first two albums did. There were no themes behind those two records, but the performances and songs shared a similar spirit. The third album is simply a collection of moments, some spectacular and some average. While that may come as a slight disappointment, since I Should Coco and In It for the Money are two of the greatest pop albums of the '90s, the songs that work on Supergrass -- and they do account for well over half the record -- confirm that THE 'GRASS remain one of the most gifted, irresistible guitar pop bands of their time. Stephen Thomas Erlewine

Entertainment Weekly

The ultimate Brit-pop charmers craft gemlike rock out of rec-room materials - bass, drum, guitar, keyboards, and Gaz Coombes’ thin, sexy voice. Arion Berger