The latter record was later separately released by Rough Trade after McRobbie travelled to see Geoff Travis at the label's office in London, where he insisted that they were "the next big thing out of Scotland.

[1] These releases were published on a variety of labels including Whaam!, Creation, and Glass Records,[2] and all had a raw and immediate sound, melodic and amateur, which seemed at odds with the time.

[1] The Pastels' sound continued to evolve and, although part of NME's C86 compilation, in interviews they always sought to distance themselves from both twee and shambling developments.

[5] Their debut album, Up for a Bit with The Pastels (Glass, 1987; re-issue Paperhouse, 1991) moved from garage pop-punk through to ballads with synth orchestra splashes.

[6] The Guardian describe the album as integral in helping "to inspire confidence in the Glasgow scene (showing) that bands didn’t have to move south but could let the record industry come to them.

[citation needed] Reports started to appear in the UK music press that the group was splitting up,[7] and Taylor, Hayward and Simpson all departed.

[8] They signed with the then emerging Domino Records and completed two albums, Mobile Safari (1995) and Illumination (1997), with the musical approach of the latter described as "mellowed and evolved into a form of gently psychedelic off-kilter pop, adorned with orchestral instrumentation.

[11] The Guardian described the album as "their most complete set since Up for a Bit, with its 10 summery, groovy flute and french-horn-licked songs, trippy in the sense of the kind of trip that lands in a pile of freshly mown grass.