[3] The other single from the album, "Bloodsport For All", an attack on racism and bullying in the army, was released at the start of the Gulf War and was denied airplay by the BBC.

The two are able to whip up their surging numbers to a higher level–the group's stated fondness for Queen actually makes a little more sense here, while "Billy's Smart Circus" is flawless in its soaring, anthemic power.

"[5] Melding genres, the song sees a similar aesthetic to the opener, although with "snarling punk vocals from Jim Bob juxtaposing with some lovely harmonising from Fruitbat.

"[16] They were very favourable towards the band's lyrics, saying "Carter's bluff, seedy ebullience is a welcome antidote to the rather fey self-regard that's dominated indie pop over the last decade, from the Jesus and Mary Chain to the current blissed-out hedonism of Happy Mondays and their baggy ilk," but did however note that "it has to be said that Carter's musical style is limited in the extreme – for the most part, a ragged thrash that happens to be played largely on sequencers rather than guitars.

"[20] Recalling the era, Andrew Collins in The Guardian said: "Carter USM were typical of the "T-shirt bands" of that epoch: witty, wily and embraced with obsessive devotion by young, gig-going fans.

Jim’s lyrical puns were enough to make a Sun headline writer retire: 24 Hours from Tulse Hill, 101 Damnations, The Only Living Boy in New Cross, Do Re Me So Far So Good.

Fruitbat rugby-tackled Phillip Schofield after a misunderstood amp-toppling finale to After the Watershed at the Smash Hits Poll Winners Party, live on TV.