There is angry political invective aimed at “class traitors”, of a kind that makes people feel obliged to point out that Bobby Gillespie sent his children to private school. You could look at the different reasons for Brexit: socioeconomic, xenophobic, maybe 40 years of neoliberalism is to blame for the disconnect, the inequality. I bought the original black cover of Anarchy in the UK and played it incessantly, driving people nuts. However, once you grow used to both that and Gillespie’s tendency to smack the reader repeatedly over the head with his political views, (we get it; socialism - good, Tories - bad), the book really comes alive. There’s a load more I could say here, particularly on his sharp analysis of how movements like punk and acid house emerge, coalesce, expand and finally stagnate.

Like all great autobiographies, it’s funny in places, honest and documents how rock became pushed aside to make room for Acid House.

I even listened to a few of the songs referenced, including older Primal Scream tracks and various remixes. Bobby Gillespie has some great stories to tell about his life and his artistic journey up to the release of Primal Scream's album "Screamadelica. At which point Tenement Kid concludes, with Gillespie basking in its success and the reader wondering what he’s actually like behind the posturing and hyperbole: a very odd way to end an autobiography.

View image in fullscreen With his sons, Lux and Wolf, and wife, Katy England, at Paris fashion week in September 2019. It ends a little abruptly with the launch of Screamadelica, and suspect there may be more to come as he’s done lots of other things since. I haven’t done therapy for a while but, when I did, I’d describe certain reactions and they’d say, you’re disassociating. The struggles, the insane nights you can picture happening to yourself back in the day and the feelings that we all felt in that era. He excoriates the “coked-out” performers at Live Aid: “They displayed nothing except an arrogant contempt for their audience.

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