He and label co-founder Dick Green told marketing consultant Tim Abbot to "chuck everything at it" in terms of promotional efforts.

[4] McGee understood the change in the band's sound, but informed them the label would be focusing its efforts on Mezcal Head (1993) by labelmates Swervedriver, who had the chance of becoming bigger in the US.

[5] To help aid the album's promotion, Saunders wanted Carr to be perceived by the press as a musical genius akin to Brian Wilson of the Beach Boys or Kevin Shields from former Creation group My Bloody Valentine.

[22] Author Dave Thompson, in his book Alternative Rock (2000), praised the variety of styles, noting that "those perfect pop harmonies keep somersaulting overheard.

Although they hardly renounce the thunderous swirl and delicate suspension of 1992's Everything's Alright Forever, the Boo Radleys treat that candied rush as an absorbed language, with Carr choosing to pursue a grand vision that unifies psychedelia, British guitar-pop, jazz, and dub.

Part of the appeal of Giant Steps is that the Boo Radleys' enthusiasm leads them to attempt fusions that would scare away other bands: Witness "Lazarus," which begins with an elastic reggae beat before becoming consumed by sheets of guitars, wispy harmonies, and stabs of brass.