Erlewine, Stephen Thomas. " In It for the Money – Supergrass". AllMusic . Retrieved 8 September 2011.

Lastly, I can't get behind the production. The wah-wah/disco sounding guitar near the end seems so out of place, while the rest of the album feels so compressed that none of the instruments have room to breathe. Everything is so jammed on top of each other (especially the vocals, which are really crowded out) that it all comes out as one blaring sound; I think people mistake this sound for lushness. Yeah, you have to really dig in to enjoy the dynamics, but that's not digging in as in digging into a feast. It's digging in as in digging into a garbage heap of bad production to salvage something enjoyable. In It for the Money Photo Album". childrenofthemonkeybasket.com. Archived from the original on 30 March 2007. So when ‘In It For The Money’ arrived twenty years ago today, it was slightly bamboozling: a band known for their lightheartedness had returned with what, from a certain angle, appeared to be a rather serious second album – thoughtful, expansive and gently melancholic, with distinctly fewer barrelling japes. If ‘I Should Coco’ was giddy with youth, ‘In It For The Money’ was the sound of growing pains, and two months after Blur had re-emerged with ‘Beetlebum’, it seemed Supergrass were keen to ensure that Damon Albarn et al didn’t have the monopoly on Britpop bands testing out more mature territory in 1997.Offiziellecharts.de – Supergrass – In It for the Money" (in German). GfK Entertainment Charts. Retrieved 29 August 2021. Our hugely successful second album, which reached #2 in UK Album Charts in 1997, amassed 300k sales in the UK and over a million worldwide since release. Voted 10th Best Album of 1997 (NME) and included in ‘1001 Albums You Must Hear Before You Die’, it featured hit singles: ‘Going Out’, ‘Richard III’, ‘Sun Hits the Sky’, ‘Late In The Day’ and ‘Cheapskate’. Robbins, Ira (4 April 1997). "Supergrass: In It for the Money". Rolling Stone. No.759. ISSN 0035-791X. Archived from the original on 23 October 2007 . Retrieved 8 September 2011. The retro thrills continue towards the end of the record, in the clanging, dissolute chords of the Who-referencing You Can’t See Me and the wah solo in the Beach Boys-esque Hollow Little Reign, before the album closes with the surreal Sometimes I Make You Sad, a psychedelic fairground ride with a Lennon-esque flavour, beatboxing and a sped-up Gypsy Jazz-style acoustic guitar solo. Image: Paul Bergen / Redferns Much more than just Alright

The album peaked at No. 2 in the UK Albums Chart, [21] and sold 300,000 copies in the UK and over one million worldwide. "The fact that it has sold more worldwide than I Should Coco," said Gaz Coombes, "means we can sleep at night." [3] Supergrass: In It for the Money" (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 29 August 2021. a b "The 100 Greatest Albums Ever #68: In It for the Money". Q. February 1998 . Retrieved 8 September 2011. Nonetheless, it’s clear from ‘In It For The Money’ that three years being thumbs-up cheeky-chappy Supergrass was taking its toll, and lyrically, escape was on the brain: “Here I see a time to go and leave it all behind,” runs the album’s opening overture. The very next song sees Gaz Coombes yelling to himself, “I know you wanna try and get away, but it’s the hardest thing you’ll ever know”, and ‘It’s Not Me’ confesses that, “as everyone listened my head turned away”. Schreiber, Ryan (May 1997). "Supergrass: In It for the Money". Pitchfork. Archived from the original on 2 November 2005 . Retrieved 8 September 2011.

Credits

Caro, Mark (23 May 1997). "Supergrass: In It for the Money (Capitol)". Chicago Tribune . Retrieved 11 May 2016. Early US pressing comes with a bonus disc, which is stated as "Limited Edition Bonus CD" and "Promotional Use Only/Not For Sale", with cat # DPRO 7087 6 12024 2 7. Dutchcharts.nl – Supergrass – In It for the Money" (in Dutch). Hung Medien. Retrieved 29 August 2021. In It for the Money was in many ways the perfect response to being labelled ‘just another Britpop band’. Released as the sound of the genre’s bubble being burst was still resonating, it thrived at a time when other second albums were flopping and folk were just cottoning on to how identikit and disposable the majority of the acts were, it confirmed that, unlike so many of their contemporaries, Supergrass were in it for the long run and that they had enough drive and talent to survive while so many others were floundering.