![]() A frenetic pace pushed by hyperbolic visual strategies and editing barely distinguish McGee’s detour into Ecstasy, raves and acid house from years in the rock milieu of booze, coke and speed. The characterizations are broad, the tone shrill. But with its dependence on rapid-fire montages of TV clips, New Music Express covers and so forth, as well as eyeblink depiction of the relevant bands (as interchangeable, attitudinous brats), “Creation Stories” does a poor job explaining it for anyone else. Much of this saga remains well-known to dedicated U.K. Eventually it all imploded, though he kept his hand in with later ventures like Poptone Records and floating club night Death Disco. McGee didn’t just support rockstar egos, he possessed one himself, with the outsized appetites to boot. ![]() ![]() While some of his acts fled to the majors before or upon hitting the bigtime, he nonetheless played a huge role in what was dubbed the “Britpop” explosion of the mid-’90s, variably involved in the careers of Oasis, Primal Scream, Teenage Fanclub, My Bloody Valentine and many more. ![]() ![]() This encompassed artist management (starting with The Jesus and Mary Chain), promotion, venue programming and running indie label Creation Records. ![]()
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