Supergrass
– In It for the Money
If I Should Coco was the sound of Supergrass crashing the Britpop party with wide-eyed enthusiasm, In It for the Money is the moment they prove they weren’t just here for a laugh. It’s bigger, bolder, and more ambitious without losing an ounce of the scrappy energy that made them so irresistible in the first place. The hooks are still massive, the guitars still punchy, but there’s a new depth—darker moods creeping in, more intricate songwriting, and a sense that Gaz Coombes and company were gunning for something beyond three-minute singalongs.
What makes this album stand out is how effortlessly it jumps between moods and styles. One minute, it’s stomping through fuzzed-out garage rock (Richard III), the next it’s gliding into sweeping, melancholic psychedelia (Late in the Day). There’s an unmistakable ‘70s influence at play—McCartney-style piano pop, Bowie-esque balladry, even a touch of Pink Floyd weirdness—but it never feels like retro pastiche. Supergrass take their influences and twist them into something completely their own, adding wit, warmth, and just the right amount of chaos.
It’s an album that confirmed Supergrass weren’t just another Britpop band—they were something sharper, stranger, and built to last. The humor is still there, but it’s laced with self-awareness. The melodies are still massive, but they’re carrying more weight. In It for the Money might not have the immediate sugar rush of its predecessor, but give it time, and it sinks in deeper.
Choice Tracks
Richard III
A full-throttle fuzz-rock assault, sounding like Supergrass decided to punch through the walls of their own sound. Coombes’ sneering vocals, the relentless riff, and that thunderous breakdown make this one of their hardest-hitting tracks.
Late in the Day
Gorgeous, wistful, and deceptively powerful. It starts out as a gentle acoustic lament, but by the time the guitars swell and Coombes lets loose, it feels like it could lift off into the sky.
Sun Hits the Sky
A driving, kaleidoscopic burst of energy that blends power pop with a touch of psychedelia. It’s both euphoric and slightly unhinged, which is exactly where Supergrass thrive.
Going Out
Jaunty brass, stomping piano, and a melody that feels lifted from a lost ‘60s classic. It’s playful but carries an undercurrent of frustration, making it more than just a breezy singalong.
Hollow Little Reign
One of the album’s hidden gems—slow-burning, eerie, and atmospheric. Supergrass tap into something moodier here, proving they could do more than just belt out festival-ready anthems.
In It for the Money is the sound of a band growing up without losing their spark. It’s clever, confident, and packed with songs that dig their way into your brain and refuse to leave. Britpop may have been fading by 1997, but Supergrass were just getting started.