Hans Zimmer (he of the Going for Gold theme fame) is taking over the BBC Maida Vale studios. It's the end of an era. One of my favourite albums, Hatful of Hollow by The Smiths, features tracks recorded there, and it's the site of Delia Derbyshire's electronic triumphs. It's also famously where Bing Crosby made his last ever recording in 1977, just days before he died. Fontaines DCs final session there was broadcast today on 6 Music.

However, for me, it was where I saw Gomez (with Chilly Gonzales playing, and Colin Murray booking us in on the door). Gomez were such an important band for me. In this 1000 Songs project, I have engaged in a bit of late-1990s revisionism. For me, as someone who likes British guitar music, the era at the time wasn't particularly good for it, especially just after 1997.

Gomez were important because they decided to look way back and do something different with it when others tried to let Britpop limp on. Hailing from Southport, Merseyside, they were a unique outfit comprising Ian Ball, Paul Blackburn, Tom Gray, Ben Ottewell, and Olly Peacock. They brilliantly juggled three different singers and four songwriters. Their sound was a complete anomaly at the time, effortlessly blending blues, folk, and psychedelic experimental rock.

Bring It On felt very different. Looking back on it nearly 30 years later, for me personally, it hasn't dated too well. But it was authentic, raw, and much-needed, especially compared to what was on TV. It was actually won the Mercury Music Prize in 1998.

For the archive, I had a choice to make. I was considering "Whippin' Piccadilly" or even the later "Shot Shot".

Shot Shot by Gomez

But for me, it was the opening track to Bring It On,"Get Miles", which told me they were trying to do something that others just weren't doing at the time.

Get Miles by Gomez