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https://www.stuff.co.nz/entertainment/blogs/blog-on-the-tracks/8661700/Grunge-Vs-Britpop
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Stuff
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https://britpopreunion.co.uk/category/britpop-tribute-band/
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Britpop Tribute Band & 90s Covers
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2023-04-25T11:58:07+00:00
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en
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Britpop Tribute Band & 90s Covers
|
http://britpopreunion.co.uk/category/britpop-tribute-band/
|
This Is Britpop Reunion, the official website of Britpop Reunion, the ultimate live band experience for fans of the iconic Brit pop genre. We are a group of talented musicians who are passionate about bringing the energy, creativity, and excitement of Britpop to your wedding, party, corporate event, or special occasion.
This Is Brit pop like you’ve never experienced it before. Our band has been performing together for many years, and we’ve honed our skills to perfection. We have an extensive repertoire of songs that covers all the classics from the era, including hits from Oasis, Blur, Pulp, Supergrass, and many more. We also love to mix in some ever so slightly lesser-known gems so even the most die-hard Britpop fans will be delighted by our set. Britpop is more than just a genre of music to us. It’s a way of life, a cultural phenomenon that defined a generation and continues to resonate with fans today. That’s why we’re dedicated to not just playing the hits, but also capturing the essence of the era through our live performances.
This Is Britpop
When you book Britpop Reunion, you’re not just getting a band – you’re getting a full This Is Britpop experience. To smaller weddings we bring our own high-quality sound and lighting equipment, so you don’t have to worry about a thing. At larger events such as festivals then third party sound must be installed by the organisers. Our stage setup is designed to create an immersive and exciting atmosphere, and our musicians are always dressed to impress.
Band leader Andy Starkey and his fellow musicians are all seasoned professionals who are passionate about Britpop and have a deep understanding of the genre. They know what makes Britpop great, from the catchy guitar riffs to the witty lyrics, and they bring that knowledge and passion to every performance.
We understand that every event is unique, and that’s why we offer a range of different packages to suit your needs. Whether you’re looking for a full-scale concert experience or a more intimate performance, we can tailor our set to fit your requirements.
Testimonials
But don’t just take our word for it – here’s what some of our previous clients have to say about us:
“We hired Britpop Reunion for our wedding, and they were amazing. They had everyone up on their feet dancing and singing along to all the classics. It was the highlight of the night, and we couldn’t have asked for more. This Is British pPop at its finest.”
“Britpop Reunion were the perfect choice for our corporate event. They brought a real sense of energy and excitement to the stage, and the crowd loved them. We received so many compliments from our guests, and we’ll definitely be booking them again next year. That was Britpop that truly delivers.”
“If you’re a fan of Britpop, then you need to see Britpop Reunion. They are the ultimate tribute to the genre, and their live performances are simply incredible. We’ve seen them play several times now, and we’re always blown away by their talent and energy. This Is Britpop tour that will leave you wanting more.”
Why choose a 90s cover band?
One thing that sets us apart from other Britpop tribute bands is our attention to detail. We don’t just play the music – we also create a fully immersive experience that captures the essence of the era. From our vintage-inspired stage setup to our retro clothing and accessories, we make sure that every aspect of our performance is true to the spirit of Britpop.
We also take pride in our professionalism and reliability. When you book Britpop Reunion, you can rest assured that we’ll arrive on time, set up quickly and efficiently, and deliver a top-quality performance that will exceed your expectations.
So whether you’re planning a wedding, corporate event, or private party, Britpop Reunion is the perfect choice for live music that will get your guests talking for months to come. Contact band leader Andy Starkey today to discuss your requirements and book the ultimate Britpop experience. This Is All Britpop, and we can’t wait to bring the spirit of the era to your event.
Find out more about our 90’s cover band on Facebook.
Andy Starkey noticed something a little odd while scrolling through YouTube. He realised that since its release in 1994 no one had ever recorded a studio version of Digsys Dinner Oasis cover version video. Have a look for yourself, there really isn’t one. There are a few live versions by Oasis tribute bands and Oasis wedding bands. Also there are some Britpop acoustic versions but all of them are solo live covers. So as you’ll find no band has ever properly recorded Digsy’s Dinner as a full band in a studio and then shot a music video for it. Therefore Britpop Reunion the UK’s best Britpop & 90s tribute band meticulously recorded the audio and then shot the video you can watch below. Contact Andy Starkey from Britpop Reunion to hire a 90’s band and check on price and availability.
What album is Digsys Dinner Oasis Cover from?
Digsy’s Dinner is track number 9 from the Oasis debut album ‘Definitely Maybe’. Released in 1994 Definitely Maybe changed British musical history as a part of the 90’s Britpop movement. With over 8 million worldwide sales it is usually overshadowed by the stellar follow up album (What’s The Story) Morning Glory which has over 22 million sales. But D.M. had all the unpolished glory of what was the beginning or “Noel Rock” with fantastic singles and all their equally as good B-sides. This is where the wall of guitars sound first started.
Who is Digsy from the song Digsy’s Dinner by Oasis?
Digsy’s real name is Peter Deary and he is a long time friend of Noel Gallagher. He is a Liverpudlian musician who during the 1990’s released four singles with his band Smaller. ‘God I Hate This Town’ , ‘Stray Dogs and Bin Bags’ and ‘Wasted’. Smaller’s fourth single ‘Is’ actually featured Noel Gallagher on guitar. An album entitled ‘Badly Badly’ was released in 1997 and a second album was recorded but never released. Peter Deary currently performs with his band The Sums and is often interviewed for Brit pop tv programs and podcasts.
What was the inspiration for Digsy’s Dinner?
According to Noel himself he was round at Peter ‘Digsy’ Deary’s house one day (Off their kegs) bashing around on the drums with Digsy singing crazily “Guess what I had for my tea, guess what I had for my tea. It was lasagne…..it was lasagne”. Noel went away and wrote a tune with the words “Lasagne” in asking Peter if it was OK for him to call it “Digsy’s Dinner”. Peter agreed “Go on son”. Later Peter regretted this stating it was “The worst song Oasis has ever written, I f*cking hate it with a vengeance.”
Digsy loathed it so much that he wrote a song in retaliation called “Noels Nose”. Although Peter Deary does say that this song has gotten him drunk for free on many occasions. Due to the fact that people want to buy him rounds of drinks because his name is featured in the song title. What a nice night out eh 🙂
What is Digsy like as a person?
Owen Morris was told that “Meeting Digsy is like opening a bag of monkeys”. Upon meeting him he agreed “and thats exactly what he’s like” Owen said. Whereas Noel Gallagher describes him as a “Funny, funny fella”.
Funny note: Digsy states that he “F*ckin hates the meal” (Lasagne).
Re-recording Digsys Dinner Oasis cover version.
Being the perfectionist that Britpop musician Andy Starkey is he first sat down and tried to work out every single instrument being played on the original. The bare minimum instruments are:
Lead vocal.
Electric guitar chords.
Electric guitar picking parts.
Acoustic guitar chords.
Bass guitar.
Drums – Kick, snare, hi-hats, high tom, low tom, ride and two crashes.
Piano / Fender Rhodes.
Tambourine.
General notes for tracking Digsys Dinner Oasis Cover
Although its states on the liner notes that Noel Gallagher sings backing vocals on the original they can’t be heard. Each guitar part would have been multi tracked recorded by Noel and Bonehead so our cover version’s guitar parts were recorded three times with different guitars and slightly different tones to achieve the Oasis Guitar Wall Of Sound too. Also vocals were recorded in three separate takes to add extra depth to them. On the original, Bonehead’s solo was played either on a honky tonk style piano or a Fender Rhodes….or both. So it was recorded the same on our cover version too. The drum part is pretty easy to play with the same drum fill being performed throughout the song. Bass guitar was recorded with a 1994 Fender Precision and tambourine was recorded with a mid 90’s Liam Gallagher esque half moon tambourine.
Lyric notes:
The lyrics are pretty easy to remember as there are only two verses and one bridge section that are then just repeated again later on (Apart from the additional phrase “I Said”). This is true to form for Noel Gallagher lyrical writing style.
Guitar notes:
Noel Gallagher’s picked guitar parts were particularly hard to work out as they are buried so deep in the original mix. Andy and the members of Britpop Reunion spent a long time going through live versions and Oasis Demo’s from the mid 90’s on YouTube trying to work them out perfectly. But they just about managed it in the end as you’ll hear in our cover version.
Mixing notes:
The ‘Definitely Maybe’ version of Digsy’s Dinner really has a very poor mix. Don’t get us wrong it has a lot of life and fun in it, but it really is just a mush of noise. The demo version differs quite a bit with a lot more separation. This is no doubt due to that fact that there aren’t as many layered guitar parts. Britpop Reunion‘s cover version was mixed by expert sound engineer and friend of the band Russ Hollinshead from modern pop party band Luna Sounds. We decided to go for a modern style mix but still keeping some of the Oasis Wall Of Guitar sound and Noel Rock vibes.
Further musings
The piano played by Bonehead (In the solo) is quite possibly being played all the way through Digsy’s Dinner as you can hear it again slightly once the song finishes plonking a few notes. You’d never know either way though due to where it sits in the mix behind all the many, many guitar parts.
The Video Digsys Dinner Oasis Cover Version
Andy shot the video in and around Southampton and an a ferry to the Isle Of Wight. There was no budget so he just used camera gear he already owned. The video for the cover version was shot on a Canon 200D and utilised a Ronin S gimbal. Andy is seen playing his Oasis esque Epiphone EJ-200SCE acoustic guitar which is similar to Noel Gallagher’s Gibson J-150.
Band members performing on the original Digsy’s Dinner include:
Liam Gallagher – Lead vocals, tambourine.
Noel Gallagher – Lead guitar, rhythm guitar, acoustic guitar.
Paul “Bonehead” Arthurs – Rhythm guitar, piano, Fender Rhodes.
Paul “Guigsy” McGuigan – Bass guitar.
Tony McCarroll – Drums.
Producer Owen Morris at Clear Studios in Manchester, England
Who wrote Digsy’s Dinner?
Digsys Dinner was written by lead guitarist and main songwriter Noel Gallagher in Oasis. And “The Chief” himself is still playing this classic Oasis song live with his band Noel Gallagher’s High Flying Birds to this very day.
Singles from Definitely Maybe were in order of release :
Supersonic
Shakermaker
Live Forever
Cigarettes & Alcohol
How to play Digsy’s Dinner
Digsy’s Dinner chords.
There are two ways to play this Oasis song. You can either play it without a capo (Like the original Oasis version). Or with a capo which Noel Gallagher tends to do with his High Flying Birds band.
None capo version guitar chords for Digsy’s Dinner
Verse – A – C#7 – D – E – D – E – D7 – A
Bridge – F#m/C# – Asus2 – Bsus4ad2 – C#7
Capo version guitar chords for Digsy’s Dinner (Much easier for beginners)
Verse – G – B7 – C – D – Cadd9 – D – C9 – G
Bridge – Em – G – Am7 – B7
Lyrics to Digsys Dinner by Oasis
What a life it would be,
If you could come to mine for tea.
I’ll pick you up at half past three,
We’ll have lasagne.
I’ll treat you like you’re a Queen,
I’ll give you strawberries and cream.
Then your friends will all go green,
For my lasagne.
These could be the best days of our lives.
But I don’t think we’ve been living very wise.
Oh no! No!
What a life it would be,
If you could come to mine for tea,
I’ll pick you up at half past three,
We’ll have lasagne.
Solo
These could be the best days of our lives,
But I don’t think we’ve been living very wise,
I said oh no! No!
What a life it would be,
If you could come to mine for tea,
I’ll pick you up at half past three,
We’ll have lasagne.
I’ll treat you like you’re a Queen,
I’ll give you strawberries and cream,
Then your friends will all go green, Then your friends will all go green,
Then your friends will all go green,
For my lasagne
How to play Digsy’s Dinner on acoustic guitar video by Andy Starkey
A part of Andy Starkey’s HOW TO video series teaching you hot to play guitar, here is how to play Digsy’s Dinner on acoustic guitar.
Further musings about Digsy’s Diner:
For many years Noel always got annoyed that people in USA and Canada would request he played ‘Digsy’s Diner” (Missing a letter ‘N’ and thus making it place you would sit down eat meals at). But many years later it was pointed out to him that the North American release of Definitely Maybe has the misspelling of Digsy’s Diner. So this is why fans from this part of the world have always pronounced it “Wrongly”.
‘Britpop Reunion‘ performed at the Silverstone Grand Prix Classic Weekend on Friday 30th July 2021 supporting Scouting For Girls at the weekends 30th birthday bash. (The headlining band was supposed to be 90’s Acid Jazz band ‘Brand New Heavies’. But due to having to reschedule from 2020 they performed on the Saturday evening instead) . Also before Britpop Reunion took to the stage there was a 90s grunge band tribute to Pearl Jam called Legal Jam. Our 90’s band performed songs by Oasis, Blur, Ocean Colour Scene, Pulp James plus other nineties music by The La’s, Chumbawamba, Republica, The Rembrandts and more from our 90’s tribute band repertoire. Contact band leader Andy Starkey to hire a britpop festival band for a live event.
Ultimate Best Of Silverstone Video (Under 3 mins and 30 secs)
Here are all 15 songs we performed live at this prestigious event in one long playlist.
Silverstone Grand Prix Classic
At the annual three-day car and race event there was motor racing and funfair rides. Also live music and entry to grandstands, retro run and more. There was even free parking. The Silverstone circuit is home to many sports events and competitions such as British Motor Racing, Formula One, F1, Driving Experience Days, British Grand Prix, Auto Racing, GT, Drag and more.
Guests were able to get up close to the cars and chat with drivers. Silverstone Classic 2021 early bird adult tickets started from £47 for all day Friday.
At Silverstone Grand Prix we performed classic 90’s songs like Don’t Look Back In Anger, Disco 2000, Parklife, The Day We Caught The Train, Sit Down, Place Your Hands and more for our 90’s repertoire. For the above price you got to see three live bands and spend the entire day at Silverstone. This year from 26th to 28th August 2022 90’s star Gabrielle (Famous for her song ‘Dreams’ and her eye patch) is performing.
Britpop Reunion were on stage from 8:15pm until 9:15pm
Whats on at Silverstone Festival 2023
This year Silverstone Classic has changed its name to Silverstone Festival. It is on from 25th to 27th August 2023 and features:
McFly
Sugababes
ABC
The Christians
Win 3 Pairs Of Tickets To Silverstone Classic on Friday 30th July 2021
Competition now closed.
We gave you the chance to win three pairs of adult full day tickets on our Facebook page to Silverstone Classic on Friday 30th July 2021 where you were be able to see ‘Britpop Reunion’ perform live.
Easy Competition to win a pair of tickets to Silverstone Classic on Friday 30th July 2021.
Rule of entry:
1) Comment anything the competition image on the ‘Britpop Reunion’ Facebook page
Thats it.
We gave away three pairs of adult full day tickets on Facebook to Silverstone Classic on Friday 30th July 2021.
The ticket enabled you to see ‘Britpop Reunion’ performing huge 90’s bangers live from artists like Oasis, Blur, Supergrass, Pulp, Stone Roses and more. Plus ‘Scouting For Girls’ and Pearl Jam tribute band ‘Legal Jam’ were performing too. There were interactive experiences to head turning car displays, hot air balloon lift offs, passenger rides, fun fair and crazy golf, the trackside excitement matches the duelling on the circuit with over 1000 cars to watch race at the home of the Formula 1 British Grand Prix.
The star-studded races featured historic cars from across the last 100 years of motorsport racing wheel-to-wheel, representing the golden ages of Formula 1, Formula 2, GT, Sports and Touring Cars. With grandstand seating included in the admission ticket price, everyone was on pole position to spectate. Visitors also had free access to the vast majority of the entertainment including funfair rides, driving experiences, stunt shows, the concerts and both racing paddocks.
Terms & Conditions
Entry for the competition started on Monday 12th July 12:00pm and closed on Friday 23rd July 2021 at 23:59.
Results of competition were randomly selected on Saturday 24th July 2021.
We contacted the three winners directly through their Facebook social media.
Winners needed to respond within 48 hours or the tickets were offered to another randomly chosen entrant.
UK residents only.
Friends, family and previous clients of the ‘Britpop Reunion’ were able to enter the competition.
No monetary value was offered instead of tickets.
“Tickets” were sent as E-Tickets shortly before the event.
One entry per Facebook account.
Britpop Reunion reserved the right to change the rules, terms and conditions or withdraw the competition at any time.
Live 90’s tribute band
‘Britpop Reunion’ 90’s tribute band features Britpop singer Andy Starkey who has a wealth of experience in all thing Nineties. He will be covering the whole of this monumental event in a new Vlog video. Also you’ll see lots of fantastic live photos after the event too.
To book 90’s cover band ‘Britpop Reunion’ for your festival band or event contact to check on price and availability.
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dbpedia
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1
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https://music.apple.com/us/artist/pulp/312518
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Apple Music
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Listen to music by Pulp on Apple Music. Find top songs and albums by Pulp including Common People (Full Length Version), Disco 2000 and more.
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Apple Music - Web Player
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https://music.apple.com/us/artist/pulp/312518
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1641
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dbpedia
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0
| 55 |
https://www.stevepafford.com/differentclass25/
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en
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Sing along with the common people: Pulp’s Different Class at 25
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“Britpop? It’s just a shitty-sounding word,” Pulp frontman Jarvis Cocker told Pitchfork in 2017. “I don’t like the nationalistic idea of it; it wasn't a flag-waving music. It was really distasteful when it got called Britpop because that was like somebody trying to appropriate some kind of alternative culture, stick a Union Jack on it, and take the credit for it.” Pulp, Pitchfork, Jarvis Cocker, Different Class, Common People, Britpop, Suede, Blur, Oasis, David Bowie, Brit Awards, Michael Jackson
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en
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https://www.stevepafford.com/differentclass25/
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“Britpop? It’s just a shitty-sounding word,” Pulp frontman Jarvis Cocker told Pitchfork in 2017. “I don’t like the nationalistic idea of it; it wasn’t a flag-waving music. It was really distasteful when it got called Britpop because that was like somebody trying to appropriate some kind of alternative culture, stick a Union Jack on it, and take the credit for it.”
Was his name Tony Blair, by any chance?
Actually, the credit (or blame) for the whole thing really goes to journalist Stuart Maconie, whose jingoistic ‘Yanks Go Home’ salvo in the April 1993 issue of Select magazine championed the “crimplene, glamour, wit, and irony” of five UK “indie” bands like Suede, Saint Etienne and the Auteurs (remember them?) as an antidote to the “bad grunge” flooding in from across the pond that was “killing British music.”
I suppose a press-driven crusade to champion domestic talent that represented our own customs and lifestyle in their music isn’t such a terrible thing. However, contrary to popular belief, Britpop was not a subgenre. It’s been emulsified as an occasion, but it was also not a catchall for every bit of culture being manufactured in England, Scotland, Wales and Northern Ireland. (That would be Blair’s Cool Britannia, and like Britpop it almost exclusively applied to English entities.)
And like most crusades and movements, its days were always going to be numbered.
Having lived in London for most of the 1990s, by the middle of the decade that seemingly made Britain “cool” again, it wasn’t unusual to be questioned on an interminably regular basis, with almost everyone banging on with an oft-repeated pop culture query that became ever more tiresome by the day.
“So, Britpop then. Who do you prefer — Oasis or Blur?”
Ever the contrarian, I would always answer Pulp.
Though I wasn’t being disingenuous. Far from it. Not that I had anything against Blur. Even Oasis somehow managed to conjure up two or three half-decent tunes, although, by Noel Gallagher’s own admission, they were usually purloined from David Bowie’s All The Young Dudes.
One of the most distinctive aspects of Britpop, both in its music and its perceived culture, was the curious combination of superficial amusement with quivering angst and apprehension. No album epitomises this trademark characteristic more than the one released the day before Hallowe’en 1995: Different Class, from the music world’s also-rans Pulp.
With their fifth studio album, the Yorkshire combo had expanded on past formulas and mastered their theatrical brand of satirical pop. With a revolving door line-up since 1978, once they signed to Island, Pulp finally had an audience for their tales of dreary, every day life in Sheffield. They had released strong records before, particularly 1994’s His ‘N’ Hers, but this was where everything fell into place. And how.
Then and now, Different Class has a gift for sounding like Britpop while also making most of its contemporaries sound pants in comparison. Thankfully, this doesn’t prevent Different Class from fulfilling its full potential. Britpop was built of fleeting moments, but with Different Class, Pulp captured the one moment that would stand the test of time.
Morning Glory gave the much-mocked Oasis Quo mammoth hits, but the album isn’t as consistently fantastic as this. And as good as Blur’s Parklife is, there’s a certain parochial novelty about it. Ultimately, this was Britpop’s finest hour. Actually, that’s still like being the most dignified person at a dog show. Even in pushing beyond the boundaries of its “genre”, Different Class betrays its own limitations.
Jangling pop-rock probably isn’t the natural bedfellow of spoken-word musings on bucket knickers and trust fund babies, but you wouldn’t know it listening to Different Class. The music is irresistibly catchy, chock-full of hooks and soaring choruses. Produced by Chris Thomas (Roxy Music, Sex Pistols, INXS), all the hallmarks are there: a snarky melange of future-age glam rock punctuated by Candida Doyle’s high energy laser synths, Russell Senior’s whooshing violin strokes, and the fluid rhythms of Mark Webber, Steve Mackey and Nick Banks.
All that is great, but the real clincher would be the wholly unorthodox delivery boy, the scrawny, lank-haired national treasure in thrift shop chic that is Jarvis Cocker. More than most, the uncommon pop star conspired in his own caricature, perhaps reasoning that after several years of frustration and anonymity, he wasn’t going to take any chances.
His offbeat approach to lyricism is eccentric and carnal, his rendering vengeful and provocative, and to merely brand him a singer would be a disservice. Cocker’s as much a narrator, delving in full voyeuristic mode (cf the foul libertine in Underwear) into the thoroughly melodramatic stories of myriad characters, of which most revolve around sex or detailing the class acute British class stratification he witnessed in London through various outsiders.
The songs may appear kitschy and light-hearted on the surface, but make no mistake: this is a record wallowing in sleaze. Moreover, the confessional narratives of Monday Morning, Pencil Skirt, Live Bed Show and F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E are so superbly composed the lyrics are presented as complete sentences. In fact they’re so well written they could have easily been adapted into a daytime soap opera arc, transmitted on ITV somewhere between Supermarket Sweep and Richard and Judy.
It’s not just about gangly, scruffy-suited ol’ Jarv, of course. It’s a great testament to the brand as a whole that Different Class still sounds so ridiculously good in 2020. The majority of records released by Pulp’s peers haven’t aged anything like as well. There’s a whole bunch of reasons why, but it’s ultimately because the songwriting, production, and sequencing is just not as good as this.
A flawless marriage of dance pop and glam rock, the one-two punch of Disco 2000 (over a guitar riff blatantly stolen from Laura Branigan’s Gloria) and Common People is immense, the latter’s iconic standing as the quintessential Britpop anthem that it even gave itself up as the title of the album in Japan. It’s a song in which cute social comedy escalates into seething insecurity and omnidirectional rage.
All together now, “She came from Greece, she had a thirst for knowledge…”*
The radio edit snipped the most vicious lines, in which Cocker is a dog who will “tear your insides out” because “everyone hates a tourist.”
A word on its brash, playful video too, where Jarvis looks and acts very much like the progenitor of his future Harry Potter co-star David Tennant’s incarnation of Doctor Who, while reducing the whole shimmering shebang to Carry On Class War. That’s this album’s Trojan horse strategy in a nutshell: Come for the fun, stay for the psychodrama.
There’s so much more to Different Class than its big hitted pair though, and I’m quietly confident that almost every song here could have been a hit single. Three others were: the tasty triumvirate of the fiery camp Mis-Shapes, ambivalent rave memoir (and one that incurred the wrath of the hysterical tabloids) Sorted for E’s & Wizz and the seductively sweet Something Changed certainly were, the latter’s gorgeous combination of high-stringed romanticism and sombre promotional film always reminding me a little of Bowie’s moody Wild Is The Wind clip colourised for a post-black and white generation.
I Spy—a torrid mind-meld of Serge Gainsbourg, Leonard Cohen, and Mike Leigh’s Naked—makes for a paranoid, darkly dramatic almost Bond-esque excursion: the thwarted interloper becomes the vengeful seducer, despoiling the privileged milieu that enthrals and disgusts him. His different class is a class of one, and it gets lonely there.
The song climaxes with arguably Cocker’s greatest ever line, as his loathing reaches a boiling point: “I can’t help it, I was dragged up. My favourite parks are car parks, grass is something you smoke, birds are something you shag. Take your Year In Provence and shove it up your ass!”
Pulp pushed the limits of just how Chardonnay dry music pop could be. Even at the best of times it’s hard to tell if you’re in on the joke or being strung along for the highly entertaining ride. By the time it’s over I’m just about burnt out by the spectacle put on. It’s wicked fun, though its themes aren’t necessarily cheerful — in fact they’re mostly very cynical — yet the album sounds like a celebration from beginning to end.
Well, almost the end. My sole criticism is that the record gets into such a rollicking flow that it’s a smidge deflating when it loses momentum towards the conclusion. The set deserves a epic show closer on the level of Champagne Supernova, a eulogy for good times that can’t last. As prettily the percolating as it is, Bar Italia, depicting a couple staggering home on a Monday morning after a weekend of nonstop clubbing, largely fails to come to a head.
That said, there’s no denying this is essential pop listening, a testament to the unbridled power of weird with a good mix. It’s a wry, saucy lynchpin of ‘90s culture. While Modern Life Is Rubbish was British in a way that made me want to apologise to non-Brits and our friends in the North, Different Class owes no apologies to anyone. Pulp got their right to be different and used it.
It’s true high common art.
Britpop had no clear end date, but the party started to fizzle toward the end of 1996, not long after Cocker’s infamous performance at the Brits that involved gatecrashing Michael Jackson‘s vomit inducing I Am Jesus routine.
With Different Class bringing on the last call, Britpop began its descent. Pulp themselves lost interest and retreated into a dark place for their next LP, 1998’s challenging but rewarding This Is Hardcore. Whatever your view of subsects and tribal gatherings, even now Cocker runs the show, the band run riot, and I’ve run out of things to say.
Now there’s a thing.
Steve Pafford, France (about 400 miles from Provence)
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dbpedia
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https://www.treblezine.com/10-essential-britpop-albums/
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10 Essential Britpop Albums
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2014-03-13T06:21:40+00:00
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On the 20th anniversary of two of the genre's biggest albums, Treble assembles a list of 10 essential Britpop albums.
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en
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Treble
|
https://www.treblezine.com/10-essential-britpop-albums/
|
We’re coming up on the 20th anniversary of the summer where everyone traded their flannel for anorak, and swapped one rainy northern city for another rainy northern city, on the other side of the Atlantic. We’re pretty sure nobody actually called it the summer of Britpop (which could have even been 1995 considering how strong that year was for the genre), but we all know what it felt like to hear “Live Forever” for the first time, or “Girls & Boys” for that matter. And there have even been some 20th anniversary reissue campaigns announced in celebration of the occasion, though Liam Gallagher isn’t amused. Still, we can’t help but feel a little nostalgic for the days when we sat up and wondered what on earth a champagne supernova was, or pondered the day that the scenario in “Disco 2000” might actually happen in real life. For as much as Britpop was a press creation, at least in name, there’s no denying how much great music was released in the mid-’90s in the UK. So we’ve chosen 10 of our favorites to celebrate those halcyon days. We present our 10 Essential Britpop Albums.
Listen along to our Essential Britpop tracks playlist while you read, remastered with bonus tracks, just for Liam.
Suede – Suede
(1993; Nude/Columbia)
Buy at iTunes
This is where it starts; the first Britpop record. Combining classic British glam with enough alt-rock sensibility to stay afloat in the ‘90s, Suede’s self-titled debut swept listeners away with cascading guitars and dramatic, crooning vocals lifted from another time period. From its androgynous cover to its lush instrumentals to Brett Anderson’s theatrical pipes, the album is brash, sexy, confident and extremely entertaining. Suede is full of bombast and ego, but through it all the band’s sincere energy and musicianship make for one incredible debut. – AK
The Auteurs – New Wave
(1993; Hut)
Buy at iTunes
If there’s one thing that every album on this list of ’90s-era Britpop greats has in common, it’s a charismatic, dynamic frontman. The Auteurs’ Luke Haines fits nicely then, even without the histrionics of Brett Anderson, the boyish charm of Damon Albarn or the fuck-all drunken debauchery of Liam and Noel Gallagher. Still, on The Auteurs’ debut, New Wave, Haines crafted darkly witty narratives of life at its most comically dreary over some of the best glam-inspired jangle of the early- to mid-’90s. Through guitar riffs that could have fit in nicely on Suede’s first two albums, Haines casts a cynical eye wherever he points his gaze — which frequently was in the direction of celebrities or other bands. And Haines frequently kept up that cynicism offstage, deriding a good many of the other musicians of the Britpop era. Perhaps it’s ironic (or telling) that he was never as famous as his targets, though hearing a track like “Early Years,” you can’t in all honesty say his songs weren’t as good. – JT
Blur – Parklife
(1994; SBK)
Buy at iTunes
Though Blur hit their peak toward the end of their career, with more experimental records like 13 and Think Tank, the band established their supremacy — and quite possibly cemented Britpop as a subgenre — with their 1994 album Parklife. Even now, twenty years later, there’s not much that can touch the catchy simplicity of “Girls & Boys,” or match how effectively it reduces constricting gender boundaries to fodder for nonsense poetry. The album, at times, sees Blur matching the sarcastic punkiness of the Police (the spoken word portions of “Parklife” in particular) or the fantastically weird electronic stylings that consumed British pop in the eighties (“London Loves”). “To the End,” meanwhile, has all the emotional beats and high-notes of a Broadway ballad — but it’s frontman Damon Albarn’s reedy drawl that pulls it all together into one congenial package. The album was originally slated to be called London, which makes sense: it sounds like England, or at least some cultural approximation of what England’s supposed to sound like. No wonder this album almost single-handedly defined its own subgenre.- SP
Elastica – Elastica
(1995; DGC)
Buy at iTunes
One key (though not crucial) characteristic to a true Britpop hit is how well it translated in football stadiums or, in the case of Elastica, Budweiser commercials. The irony about the band’s megahit “Connection” reaching such a level of ubiquity is that it lifted a riff from “Three Girl Rhumba,” off of Wire’s 1977 art-punk album Pink Flag. Hero worship and legal wrangling aside, Elastica’s remarkable, eponymous debut wore its new wave influences on its leather-jacket sleeves proudly, nodding to Blondie here (“Vaseline”), The Stranglers there (“Waking Up”), and just about every great UK punk band in between. Of course, any band can simply look to their favorite bands for inspiration, but Elastica’s trump card was their songwriting skills, which infused their unique personality into the vintage aesthetic they adopted and loaded each song with as many hooks as they could possibly fit into two and a half minutes. Just about any song here could have been a single, and at least five were, the best of the bunch being “Stutter,” perhaps the greatest song ever written about erectile dysfunction. – JT
Gene – Olympian
(1995; Polydor)
When Gene released their debut album Olympian in the mid-’90s, they praised as the next coming of The Smiths, and while they never had that level of influence (it’s doubtful the London group would ever yield a $75 million offer to play together), the aesthetic similarities are definitely there. Guitarist Steve Mason had a Marr-like playing style, which he showed off splendidly in standout tracks like “Haunted By You,” while frontman Martin Rossiter is a dramatic vocalist with more than a shade of Morrissey in his voice. Plus that cover art could have been slapped on a Smiths seven-inch, easily. But Gene had a lot more going on than mere kneeling at the Manchester altar, their sound an amalgam of Smiths-style post-punk, a dash of Northern soul and a heavy dose of all things Paul Weller (which became even more pronounced on second album Drawn to the Deep End). The way it all came together, however, sounded unexpectedly unique, the group rocking hard on tracks like “Left-Handed” and “To the City,” while offering their own version of a power ballad on the standout “Sleep Well Tonight.” Listening to Olympian is like listening to the best of British music recorded between 1979 and 1997, and I don’t know about you, but that sounds pretty good to me. – JT
Oasis – (What’s the Story) Morning Glory
(1995; Epic)
Buy at iTunes
Driven by classic songwriting, British sensibility, and the winning combination of the brothers Gallagher (guitarist, producer, songwriter Noel and singer Liam), Oasis propelled themselves to stardom right from the launch of their career. (What’s The Story) Morning Glory, released at the height of their rivalry with Blur, may have been ballad heavy and ambitiously condensed, but it’s still a landmark of an album and a brilliant example of Britpop at its height. Peppered with melancholy anthems like “Roll With It,” “Don’t Look Back in Anger,” “Wonderwall,” and “Champagne Supernova,” Oasis’ second record is a warm, nostalgic trip, perfect for a lazy Summer day. – AK
Pulp – Different Class
(1995; Island)
Buy at iTunes
Unlike a lot of Britpop bands, Pulp never tried very hard to stick to a formula. Still, with an alt.rock attitude, an entire lexicon of English reference points and a firm grounding in Brit rockers of past (Bowie for the most part) they definitely fit the bill. 1995’s Different Class found the band at their peak, focusing its 12 tracks on British social classes. Sure, there are obvious standouts like “Common People,” “Disco 2000,” and “F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.” but sharp songwriting and a bit of synth sheen make this record a classic across the board. – AK
The Divine Comedy – Casanova
(1996; Setanta)
Buy at iTunes
For the most part, The Divine Comedy should be considered a baroque-pop act. But, with 1996’s Casanova, Neil Hannon started going for a more straightforward pop tone as the base for his songwriting. Sure, there are still striking, classically influenced arrangements, but the mood and flow of the record is unmistakably Britpop. The result is one deliciously satisfying pop record, full of ten songs focused around themes of sexuality and one rather depressing closer about death — a rather common topic for Hannon. A stand-out for both baroque-pop and Britpop alike, Casanova is a beautifully moving album, breaking boundaries of genre and emotion alike. – AK
Supergrass – In It For the Money
(1997; Capitol)
Buy at iTunes
In 1995, Supergrass were fresh-faced youngsters riding a wave of publicity on the strength of singles like “Caught by the Fuzz” and “Alright” (which was featured in Clueless), the fact that they were several years younger than their fellow Britpoppers, and rumors that they would have their own TV series a la The Monkees. In just two years, they had shaken off some of that teenage naiveté, amplified their musical ambition and slapped an ironic title on their second album, In It For the Money. It didn’t produce any hits on the level of “Alright,” but the thing’s just packed with singles: The hard rocking “Richard III,” the riff-heavy “Sun Hits the Sky,” the bouncy, acoustic “Late in the Day,” and, best of all, the groove-heavy “Cheapskate.” And if Supergrass really were in it for the money, my guess is that they put most of it into this album, which just sounds expensive. It’s a booming rock record with horns, keyboards, Theremin and countless other bits of studio gadgetry. Even in the hedonistic world of Britpop, there aren’t many records that pack as much fun per second as In It For the Money does. – JT
The Verve – Urban Hymns
(1997; Virgin)
Buy at iTunes
Nothing proves a Britpop band was influenced by 60’s British rock quite like getting sued by the Rolling Stones. “Bitter Sweet Symphony” opens The Verve’s third studio album with an orchestral sample instantly recognizable to music fans that were withing earshot of a radio in the late ’90s. Andrew Loog Oldham, manager of the Rolling Stones at the time of their first British single “The Last Time,” had made orchestral recordings of Stones material, which is where this sample derives (that very song, in fact). Even though The Verve obtained a license to use it, apparently they used more than they should have, resulting in the forfeiture of all royalties from the song over to Keith Richards and Mick Jagger. That being said, Urban Hymns is still a quintessential Britpop album, not because of its commercial appeal, but rather its playability. By playability, I mean from the aforementioned chart-topping opener, the electric “Rolling People,” the emotional “Drugs Don’t Work,” all the way to to the closing melodic, post-shoegazing “Come On” — this album consistently rocks while quenching that nostalgic thirst along the way. – DP
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https://heardleunlimited.com/
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en
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Play Heardle Unlimited Online!
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Heardle is a music-based game that tests your knowledge by guessing song titles based on their openings. It is a great tool for discovering new music and revisiting old favorites.
|
en
|
/cache/data/image/options/heardleunlimited-favicon-m60x60.png
|
Heardle Unlimited
|
https://heardleunlimited.com
|
Heardle
Heardle is an engaging music-based game where players guess song titles based on their openings. It serves as a fantastic platform for both discovering new music and rediscovering beloved classics. With its soothing soundtrack and visually appealing graphics, Heardle provides an immersive and captivating experience. The game not only entertains players but also helps foster connections between artists and fans. Since its release, this game has garnered a devoted following who enjoy the challenge of testing their music knowledge. Whether you're a music enthusiast or a casual player, Heardle offers an enjoyable way to engage with the world of music.
What Is Heardle Game?
Heardle is a song-identification game inspired by the popular Wordle app. It follows a similar format where players guess the day's song based on limited information revealed over six attempts. It pays tribute to Wordle by incorporating well-known songs by famous artists. To succeed in Heardle, players need both luck and a broad knowledge of music. By deciphering the game's hints, players can build a winning streak. Understanding the game's history and rules is essential before diving into gameplay.
Game play
Daily Challenge: Each day, Heardle presented a new song to identify.
Audio Clues: You received six increasingly longer snippets of the song's intro, starting from a single second.
Strategic Guessing: With each guess, you could leverage your musical knowledge and the snippets to decipher the song.
Shareable Results: After guessing the song (correctly or incorrectly), you could share your results (number of attempts) on social media, adding a fun competitive element.
Heardle Rule
Six Attempts Max: You had a maximum of six guess the song title to beat Heardle Game.
No Skipping: You couldn't skip ahead to hear a longer snippet without making a guess first.
One Song a Day: There was only one song to guess per day, keeping the challenge fresh and enticing players to return daily.
Interesting features of Heardle
Heardle offers unique and enjoyable features that make it stand out. The skip feature sets it apart by deducting an attempt while playing a portion of the song incrementally, aiding in better recognition. Whether you succeed or fail, you still get to enjoy the soundtrack, appreciating the originality of the music used. With daily gameplay, the engaging music keeps you entertained while guessing song titles. It's a fantastic game to enjoy with loved ones, offering hours of fun. Compared to Wordle, Heardle provides more information without requiring user input. Correct guesses play the full-length track, and the screen displays the necessary attempts and ultimate sample length. You can even share your success by copying and pasting the number of correct guesses, similar to Wordle's functionality.
Who's create Heardle?
The minds behind Heardle were Omakase Studios, a London-based game developer. Their creation took inspiration from the wildly popular word puzzle game Wordle.
Heardle Decades: Decade-Themed Song Selection
Heardle '60s
Focus: This hypothetical version of Heardle Decades would focus on iconic songs from the 1960s.
Genre Mix: Expect a diverse selection from the era, including Rock & Roll, Pop, Soul, Motown, and Folk music.
Challenge: Test your knowledge of classic artists like The Beatles, The Rolling Stones, Bob Dylan, Aretha Franklin, and The Supremes by identifying songs based on short audio snippets.
Play Heardle '60s at: https://heardleunlimited.com/heardle-60s
Heardle '70s
Focus: This version would delve into the musical landscape of the 1970s.
Genre Exploration: Expect a mix of genres that dominated the decade, including Disco, Funk, Rock, Punk, and Singer-Songwriter styles.
Challenge: See if you can recognize legendary tracks from artists like Queen, Bee Gees, Fleetwood Mac, David Bowie, and Bruce Springsteen with just a few seconds of audio.
Play Heardle '70s at: https://heardleunlimited.com/heardle-70s
Heardle '80s
Focus: This version would pay homage to the vibrant music scene of the 1980s.
Genre Focus: Expect a heavier emphasis on Synth Pop, New Wave, Hair Metal, and Pop anthems.
Challenge: Put your 80s music knowledge to the test by identifying songs from iconic artists like Michael Jackson, Madonna, Bon Jovi, Guns N' Roses, and Duran Duran based on short audio clips.
Play Heardle '80s at: https://heardleunlimited.com/heardle-80s
Heardle '90s
Focus: This version would celebrate the grunge, alternative, and pop explosion of the 1990s.
Genre Mix: Expect a mix of Grunge, Alternative Rock, Britpop, Hip-Hop, and Boy Bands.
Challenge: Can you identify iconic tracks from Nirvana, The Smashing Pumpkins, Radiohead, Spice Girls, and Backstreet Boys with just a few seconds of audio?
Play Heardle '90s at: https://heardleunlimited.com/heardle-90s
Tips to win in Heardle Game
Here are some useful tips to increase your chances of winning in the Heardle game:
Listen attentively: Pay close attention to the audio hints provided. Focus on the rhythm, melody, and lyrics (if any) to gather clues about the song.
Analyze familiar elements: If you recognize a familiar instrument, voice, or musical style, use that knowledge to narrow down your options.
Use context clues: Consider the context of the game. The selected songs are well-known hits by renowned artists, so think about popular songs from different genres and eras.
Make educated guesses: Even if you're not completely sure, take educated guesses based on your musical knowledge. Eliminate unlikely options and go with the most probable choices.
Learn from your mistakes: If you make incorrect guesses, pay attention to the correct answers. This will help you expand your music knowledge and improve your future guesses.
Heardle exposes players to a wide range of music genres and artists, allowing them to discover new songs and expand their musical horizons. By engaging in the game and guessing song titles, players enhance their music knowledge and become more familiar with different melodies, rhythms, and artists. Remember, winning in the game is not just about luck but also about your knowledge and ability to make informed guesses. Enjoy the game and have fun exploring the world of music!
Until now, Spotify has announced suspending Heardle on their platform, but you can still play unlimited version at Heardle Unlimited.
How to play Heardle
You'll be treated to the brief introductory snippet of a popular song, lasting just two seconds. From there, you're faced with a choice: either make a guess at the artist and title or skip your turn. Skipping or guessing incorrectly grants you a little more of the music as a hint. The game continues until the sixth and final guess, revealing a 16-second segment of the track. The initial time constraint may leave you astonished, but as you answer correctly, your eagerness to instantly uncover the answer will intensify. While you can enjoy the game on your own, the real delight lies in playing with friends and family, fostering affection and camaraderie among its participants.
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https://www.newworldencyclopedia.org/entry/Alternative_Rock
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en
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New World Encyclopedia
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Alternative rock (also called alternative music[1] or simply alternative) is a branch of the rock music genre that became widely popular in the 1990s. It was a term that was liberally used to describe the bands involved in the early 1990s phenomenon of independently recorded music gaining profound commercial success. As a specific genre of music, alternative rock does not refer to one specific style of music, and numerous, diverse sub-genres fall under the umbrella of the "alternative" title. From various music scene locales, collectively known as the alternative music scene, genres such as grunge, indie rock, Britpop, gothic rock, indie pop, and many others have developed. These genres are unified by their collective debt to punk; in the 1970s, punk's style and/or ethos laid the groundwork for alternative music.[2] Independent record labels were established during the punk era, which created an alternative outlet for musicians who did not coincide with major label agendas.
The name "alternative" was coined in the 1980s to describe punk rock-inspired bands on independent record labels that didn't fit into the mainstream genres of the time.[3] At times, alternative rock has been used as a catch-all phrase for rock music from underground artists in the 1980s and all music descended from punk rock (including punk itself, New Wave, and post-punk). Ironically, alternative became the general term for almost all rock music in the 1990s and 2000s, and took on a connotation that drastically differed from what it originally meant. Thus, when referring to alternative, the connotation changes with respect to the time period.
The Term "Alternative Rock"
"Alternative rock" is essentially an umbrella term for underground music that has emerged in the wake of the punk rock movement since the mid-1980s.[4] "Alternative" as a defining musical term had originated sometime around the mid-1980s[5] and was an extension of the phrases "new music" and "post modern."[6] It does not refer to any particular musical style, but connotes an underground status on an independent record label and not in the mainstream.
The meaning of the word changed due to one critical turning point: the breakthrough of Nirvana into the mainstream, commercial market. The music known as alternative rock, before Nirvana's commercial breakthrough, was known by a variety of terms before "alternative" came into common use. "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and its appeal to the tastes of college students. In the United Kingdom, the term "indie" was preferred. After the dilution of the original meaning of alternative rock in the early 1990s, "indie" would refer to the genre that would maintain the independent, underground ideologies that were no longer attributed to alternative. "Indie rock" is still sometimes used to describe the alternative rock of the 1980s, but as a genre term, indie generally refers to alternative music that stayed underground after alternative's mainstream breakthrough.[7]
History
The Beginnings
When referring to alternative rock as an alternative musical form, its roots could be traced back to the late 1960s. Bands like the Velvet Underground, Iggy and the Stooges, MC5, and the Silver Apples provided an alternative type of music that differed from the majority of the musical acts of their time, in both sound and content.[8] The term alternative had not yet been coined to define this contrasting type of music, but those bands were the forerunners of the alternative sound. This trend of alternative music was explored further by artists in the 1970s, such as David Bowie, T-Rex, Can, Neu, Kraftwerk, Television, and the New York Dolls.[9] The dawn of punk in the late 1970s and early 1980s brought a major turning point in alternative music and in the music industry as a whole. Not only was there an alternative form of musical and stylistic expression, but an alternative mode of production, in the form of independent record labels.
Before this time, the only way for music to be produced and recorded was through major labels. As this self-sufficient culture was being developed, a philosophy that coincides with the culture was created and passed on. Throughout much of its history, alternative rock has been largely defined by its rejection of the commercialism of mainstream culture, an attitude inherited from the punk era. The original alternative scene was in fact an alternative to the mainstream acts of the time, which usually meant the artists within the alternative scene did not receive nor want much attention from major labels. Alternative was initially intended to connote status, not style. As such, there is no set musical style for alternative rock as a whole. The artists were linked by an ideological desire to pursue the independence of the underground music scene. Alternative bands during the 1980s generally played in small clubs, recorded for independent record labels, and spread their popularity by word of mouth.[10]
American indie labels, SST Records, Twin/Tone Records, Touch & Go Records, and Dischord Records, presided over the shift from the hardcore punk that dominated the American underground scene at that point to the more diverse styles of alternative rock that were emerging.[11] Minneapolis bands Hüsker Dü and the Replacements were indicative of this shift. Both started out as punk rock bands, but soon expanded their sounds and became more melodic,[12] culminating in Hüsker Dü's "Zen Arcade" and the Replacements' "Let It Be," both released in 1984. The albums, as well as the follow-up material, were critically acclaimed and drew attention to the burgeoning alternative genre. In 1984, SST Records also released landmark alternative albums by the Minutemen and the Meat Puppets, who mixed punk with funk and country, respectively. Those that eventually signed to major labels, such as Hüsker Dü and the Replacements, did not break through to the mainstream and were thereby able to keep their hip credentials alive.[13] Without mainstream success, they were still considered to be part of the underground scene.
Although alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence on the generation of musicians who came of age in the 1980s and laid the groundwork for their success.[14] R.E.M. and Hüsker Dü set the blueprint for much of alternative rock of the 1980s, both sonically and in how they approached their careers. [15] In the late 1980s, the U.S. underground scene and college radio were dominated by college rock bands like the Pixies, They Might Be Giants, Dinosaur Jr., and Throwing Muses, as well as post-punk survivors from Britain. College radio stations served as one of the major outlets of exposure for the music, which is why the music was deemed "college rock." In the early 1980s, however, only a handful of college radio stations, like Danbury's WXCI from Western Connecticut State University, WPRB in Princeton, New Jersey, and Brown University's WBRU, would broadcast alternative rock in the United States, but its influence spread to more college stations by the mid-1980s. Alternative rock was played extensively on the radio in the UK, particularly by DJs such as John Peel (who championed alternative music on BBC Radio 1), Richard Skinner, and Annie Nightingale. Artists, restricted to cult followings in the United States, received great exposure through British national radio and weekly press, and garnered chart success in Britain.[16] Outside of United States and the UK, Double J (now "Triple J"), a government-funded radio station in Sydney, Australia and Melbourne-based independent radio station, 3RRR, began broadcasting alternative rock throughout the 1980s, spreading alternative rock's influence. Some bands, like the Pixies, had massive success overseas while being ignored domestically. [17]
By the end of the decade, a number of alternative bands began to sign to major labels. While the early major label signings of Hüsker Dü and the Replacements met with little success, the late 1980s’ major label signings of R.E.M. and Jane's Addiction brought gold and platinum records, setting the stage for alternative's later breakthrough.[18] Commercial radio stations, such as Boston, Massachusetts's WFNX and Los Angeles, California's KROQ, finally caught on to the trend and began playing alternative rock, pioneering the modern rock radio format. Greater support would generate as the buzz spread to television. MTV would occasionally show alternative videos late at night during the 1980s; in 1986, MTV began airing the late night alternative music program, "120 Minutes," which would then become the major outlet for the genre's exposure prior to its commercial breakthrough. By the start of the 1990s, the music industry was abuzz about alternative rock's commercial possibilities and actively courted alternative bands including Dinosaur Jr. and Nirvana.[19]
The Age of Alternative Rock
Grunge, an alternative subgenre created in Seattle, Washington in the 1980s that synthesized heavy metal and hardcore punk, launched a large movement in mainstream music in the early 1990s. The year 1991 was to become a significant year for alternative rock and in particular grunge, with the release of Nirvana's second and most successful album Nevermind, Pearl Jam's breakthrough debut Ten, and Soundgarden's Badmotorfinger. Nirvana's surprise success with Nevermind heralded a "new openness to alternative rock" among commercial radio stations and fans of more traditional rock sounds, and opened doors for more hard rock-oriented alternative bands.[20] The popular and commercial success of Nirvana's Nevermind took alternative rock into the mainstream, establishing its commercial and cultural viability.[21] As a result, alternative rock became the most popular form of rock music of the decade and many alternative bands garnered commercial and critical success. The explosion of alternative rock was aided by MTV and Lollapalooza, a touring festival of diverse bands that helped expose and popularize alternative groups such as Nine Inch Nails, the Smashing Pumpkins, and Hole.
While "alternative" was simply an umbrella term for a diverse collection of underground rock bands, Nirvana and similar groups gave it a reputation for being a distinct style of guitar-based rock that combined elements of punk and metal. Many alternative artists rejected success, for it conflicted with the rebellious, DIY (Do It Yourself) punk ethic and their ideas of artistic authenticity that the genre had espoused prior to mainstream exposure.[22] This is when the split in alternative rock had occurred; the genre that was once a single entity, had divided into a mainstream form ("alternative") and an underground form ("indie").
By the mid-1990s, "alternative" was synonymous with "grunge" in the eyes of the mass media and the general public. A supposed "alternative culture" was being marketed to the mainstream in much the same way as the hippie culture had been in the 1960s. During the 1990s, many artists who did not fit the "alternative" label were nonetheless given it by mainstream record labels in the hopes of capitalizing on its popularity. Some pop musicians, such as Alanis Morissette and Hootie & the Blowfish were given the label on the basis of nuanced differences from other pop artists. Many pop punk bands such as Green Day and the Offspring were also labeled "alternative." The most drastic mislabeling was given to African-American artists. African-American artists whose music did not fall into the genres of R&B, hip-hop, or pop, such as folk musician Tracy Chapman and heavy metal band Living Colour, were labeled "alternative" by the music industry, despite the fact that their music did not derive from punk or post-punk influences.[23] Indie rock would become the genre that embodied the original, independent ethos of alternative music. Labels such as Matador Records, Merge Records, and Dischord, and indie rockers like Pavement, Liz Phair, Superchunk, Fugazi, and Sleater-Kinney dominated the American indie scene for most of the 1990s.[24]
Alternative's mainstream prominence declined due to a number of events, notably the death of Nirvana's Kurt Cobain in 1994 and Pearl Jam's lawsuit against concert venue promoter Ticketmaster which in effect barred them from playing many major venues around the country. [25] A signifier of alternative rock's declining popularity was the hiatus of the Lollapalooza festival after an unsuccessful attempt to find a headliner in 1998; the hiatus would continue until 2003. By the start of the twenty-first century, many major alternative bands, including Nirvana, the Smashing Pumpkins, Soundgarden, Alice in Chains, Rage Against the Machine, and Hole had broken up or were on hiatus. Meanwhile, indie rock diversified. Along with the more conventional indie rock sounds of Modest Mouse, Bright Eyes, and Death Cab for Cutie, various strains of indie rock, such as the garage rock revival of the White Stripes and the Strokes as well as the neo post-punk sounds of Interpol and the Killers, achieved mainstream success.
International Alternative Rock
In the 1990s, indie rock lost prominence in the UK with the decline of the Manchester scene and shoegazing's lack of glamour; the tide of grunge from America dominated the British alternative scene and music press in the early 1990s.[26] In contrast, only a few British alternative bands, most notably Radiohead and Bush, were able to make any sort of impression back in the States. As a reaction, a flurry of defiantly British bands emerged and wished to "get rid of grunge" and "declare war on America," taking the public and native music press by storm.[27] Dubbed "Britpop" by the media, this movement represented by Oasis, Blur, Suede, and Pulp was the British equivalent of the grunge explosion, [28] for not only did it propel alternative rock to the top of the charts in its respective country, but it centered it on a revitalization of British youth culture celebrated as "Cool Britannia." In 1995, the Britpop phenomenon culminated in a rivalry between its two chief groups, Oasis and Blur, symbolized by their release of competing singles on the same day. Blur won "The Battle of Britpop," but Oasis' second album (What's the Story) Morning Glory? went on to become the third best-selling album in Britain's history;[29] Oasis also had major commercial success overseas and even charted hits in the United States.
Britpop faded as Oasis' third album Be Here Now received lackluster reviews and Blur began to incorporate influences from American alternative rock.[30] At the same time, Radiohead achieved critical acclaim with its 1997 album OK Computer, which was a marked contrast with the traditionalism of Britpop. Radiohead, along with post-Britpop groups like Travis and Coldplay, were major forces in British rock in the subsequent years.[31] Recently British indie rock has experienced a resurgence, spurred in part by the success of the Strokes. Like modern American indie rock, many British indie bands such as Franz Ferdinand, the Libertines, Bloc Party, and Arctic Monkeys draw influence from post-punk groups, such as Joy Division, Wire, and Gang of Four.
Elsewhere in [Europe]], the Sugarcubes were one of the first internationally successful bands from Iceland. After the band's breakup, vocalist Björk embarked on a solo career that incorporated influences including trip hop, jazz, and electronica in addition to alternative rock. Icelandic indie rock bands include Múm and Sigur Rós. Continental Europe has produced numerous industrial rock bands like KMFDM.
With a history of support for alternative rock, Australia has produced a number of notable alternative bands, including Nick Cave and the Bad Seeds, the Go-Betweens, Dead Can Dance, Silverchair, and the Vines. Much like America's Lollapalooza festival, Australia's Big Day Out festival serves as a touring showcase for domestic and foreign alternative artists. To the east, New Zealand's Dunedin Sound was a musical style developed around the university city of Dunedin and the Flying Nun Records label. The genre had its heyday during the mid-1980s and produced bands such as the Bats, the Clean, and the Chills.
Mainstream alternative rock in Canada ranges from the humorous pop of Barenaked Ladies and Crash Test Dummies to the post-grunge of Our Lady Peace, Matthew Good, and I Mother Earth. In recent years, cities like Montreal and Toronto have become important centers of Canadian indie rock, home to the Arcade Fire, Godspeed You! Black Emperor, Broken Social Scene, and numerous others.
Alternative's influence spread to Asia and nations like Japan and the Philippines have contributed great alternative acts. Japan has an active noise rock scene characterized by groups such as Boredoms and Melt-Banana. Indie pop band Shonen Knife has been frequently cited as an influence by American alternative artists including Nirvana and Sonic Youth. Underground, pop-influenced, alternative rock went mainstream in the Philippines during the mid-1990s. Alternative Filipino rock (Pinoy Rock) bands include Eraserheads, Yano, Parokya ni Edgar, Rivermaya, Sugarfree, and the Etchyworms.
Influences
Punk rock
Post punk
New Wave music
Hardcore punk
Notes
References
ISBN links support NWE through referral fees
|
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https://www.intellectbooks.com/britpop-cinema
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Britpop Cinema - From trainspotting to this Is England, Author Matt Glasby
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Britpop Cinema - From trainspotting to this Is England; Featuring exclusive interviews with key players such as Simon Pegg, Irvine Welsh, Michael Winterbottom and Edgar Wright, Britpop Cinema combines eyewitness accounts, close analysis and social history to celebrate a golden age for UK film.
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Intellect Books
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https://www.intellectbooks.com/britpop-cinema
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The Britpop movement of the mid-1990s defined a generation, and the films were just as exciting as the music. Beginning with Shallow Grave, hitting its stride with Trainspotting, and going global with The Full Monty, Lock, Stock and Two Smoking Barrels, Human Traffic, Sexy Beast, Shaun of the Dead and This Is England, Britpop cinema pushed boundaries, paid Hollywood no heed and placed the United Kingdom all too briefly at the centre of the movie universe.
Featuring exclusive interviews with key players such as Simon Pegg, Irvine Welsh, Michael Winterbottom and Edgar Wright, Britpop Cinema combines eyewitness accounts, close analysis and social history to celebrate a golden age for UK film.
'Britpop Cinema is so consistently entertaining and informative, Glasby’s love for these films (even the bad ones) so evident and infectious... [It has] an impressive, compendium-like attention to detail; you could flip to any page and find a factoid or anecdote you probably haven’t seen before. This readability should entice pop culture enthusiasts and cineastes alike.'
Thomas Puhr, Film International
'This meticulously researched, warts-and-all exploration of British cinema and its place in social history will impress, inform and delight anyone who has an interest in films and filmmaking, and will provide students of film studies with plenty of insight into the film production industry. Glasby’s analysis of the oeuvre is sharp, his admiration for the films and what they stood for is abundantly clear, and his enthusiasm for the subject matter is infectious in this spirited tribute to a movement that defined a generation. Choose it!'
Kathryn Adams, Leonardo
'Britpop Cinema is a comprehensive and informative guide to the rise and fall of a distinctive British cinematic cycle, that may indeed have been unjustly neglected.'
Douglas Allen, Media Education Journal
'Great work, tons of different perspectives- buy the bastard'
Irvine Welsh, author of Trainspotting
‘An exuberant and unashamedly geeky paean to a time when British cinema blossomed.’
Matthew Lee, Delayed Gratification
'Witty, insightful and eye-opening.'
Rich Cline, shadowsonthewalls.co.uk
'A cracking celebration of the risk-taking ambition and relentless watchability of 1990s/2000s British films.'
Steve Newell, flicks.co.nz
‘The definitive guide to 1990s/2000s Brit flicks, complete with fascinating insights and passion that jumps off the page. A must for any cinema fan.’
Joshua Winning, film critic and author
‘Hyper-literate and thought-provoking, this is a fascinating read for anyone interested in British cinema.’
Charlie Burton, GQ
'A captivating read.'
Matt Risley, MTV International
‘Impeccably researched, deftly written and full of sharp, dark wit, Britpop Cinema joyfully eviscerates British cinema and neatly stitches it back together again. If you first fell in love with Christopher Eccleston as disturbed David in Shallow Grave; if you can only ever see Ewan McGregor as Trainspotting's shorn, cheeky-faced Renton, then THIS, nostalgic 1990s film fan, is the book that will save your life.’
SJI Holliday, author of The Lingering and The Deaths of December
‘Sharp, funny and passionate, the excellent Britpop Cinema packs an astonishing amount of detail between its covers. Informed, playful and beautifully written, it’s as fresh and animated as its subject matter, putting each film into its historical context and providing expert analysis and opinion en route. Best of all, it makes you want to watch these movies all over again; the true mark of any great film book.’
Ali Catterall, author of Your Face Here: British Cult Movies Since the Sixties
‘Passionate and revealing... mad for it!’
Matthew Leyland, Total Film
‘A timely, genre-defining book that provides both food for thought and a yearning nostalgia for the hope and promise of the 1990s.’
Mel Hoyes, BFI
‘An excellent exploration of 1990s/2000s British cinema, well researched and beautifully written.’
Rosie Fletcher, UK editor, Den of Geek
‘The research is thorough, the writing is clear, and the perspective is illuminating. Some of the behind-the-scenes stories it brings to light are almost as good as the films themselves.’
Hardeep Phull, The New York Post
‘The author’s interesting and accessible insights, his attention to the movement’s subtleties, and his solid grasp of wider cinematic issues make for a smart book that breaks new ground in its engagement with Britpop cinema.’
Anthony Lowery, BBC Three
‘An essential, innovative guide to one of the most exciting times in British cinema, Britpop Cinema is meticulously researched and has the sort of fun, irreverent tone that perfectly captures the films of the Britpop movement.’
Pierre de Villiers, Embassy Magazine
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https://www.theaudiodb.com/artist/111959-Pulp
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https://www.radiox.co.uk/features/x-lists/20-underrated-britpop-singles/
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The 20 most underrated Britpop singles
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[
"Radio X",
"Martin O'Gorman"
] |
2024-03-29T16:00:00+00:00
|
Britpop! It's all about Live Forever, Parklife and Disco 2000 isn't it? Well... no.
|
en
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/assets_v4r/xfm/img/favicon-16x16.png
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Radio X
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https://www.radiox.co.uk/features/x-lists/20-underrated-britpop-singles/
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Manic Street Preachers - Kevin Carter
Manic Street Preachers - Kevin Carter
This brooding single from 1996's Everything Must Go album is classic Manics: thought-provoking and with a memorable tune to boot, but it felt overshadowed by its siblings (Design For Life, Australia). Despite the troubling, true-life lyric (photographer is overcome by guilt at his photo of a famine victim winning a prize), this is one of the band's strongest singles, part of the response to the disappearance of founding member Richey Edwards. There's a rare trumpet solo from drummer Sean Moore, too.
Pulp - Babies
Pulp - Babies (Official Video)
Originally issued as a single in 1992 when only a few indie stalwarts knew of Jarvis Cocker, this thumbnail sketch of adolescence was re-recorded for the album His 'N' Hers... and the rest is history. Not as showy as Disco 2000 or Common People, this is uniquely Pulp.
Blur - Chemical World
Blur - Chemical World (Official Music Video)
Blur initially baffled the world with their album Modern Life Is Rubbish, but once the idea of Britpop coalesced, it all made sense. Damon Albarn indulges his passion for Syd Barrett-era Pink Floyd as Chemical World offers a snapshot of the 90s before everything got too out of hand.
Longpigs - She Said
Longpigs - She Said
Sheffield's Longpigs never really got the recognition they deserves and their career spluttered out after their second album in 1999. She Said only bumped the lower end of the chart, but its searing passion lives on. Guitarist Richard Hawley has enjoyed much solo success.
Shed Seven - Getting Better
Shed Seven - Getting Better (Stereo)
The second single from Rick Witter and co's album A Maxiumum High has lived in the shadow of its successor Going For Gold for too long.
The Auteurs - Showgirl
The Auteurs - Showgirl
Led by the acerbic Luke Haines, The Auteurs are the great lost band of Britpop (although Haines would hate us for calling them that). Their debut single has all the glam swagger lesser bands struggled to conjure up - and the most thrilling pause in rock 'n' roll (straight after Haines' first line).
Suede - Metal Mickey
Suede - Metal Mickey (Official Video)
The Drowners got the kudos, Animal Nitrate enjoyed the plaudits, while poor old Metal Mickey was stuck in the middle. It got to No 17 in the charts, mind you, and finally gave Brett Anderson his chance to appear on Top Of The Pops.
Supergrass - Lenny
Supergrass - Lenny (Official HD Video)
Often tagged as the cheeky chappies of Britpop (mainly due to their whimsical videos) Supergrass were actually a formidable power trio, as this 1995 single proves. It would be overshadowed by its follow-up, Alright.
Cast - Walkaway
Cast - Walkaway
Former La's man John Power knew his way around a Mersey Beat-style tune (see Alright, Fine Time, etc) but he could also create the sort of anthemic ballad that would make Noel Gallagher green with envy.
Radiohead - The Bends
The Bends
Despite their modern reputation for pushing the envelope when it came to experimental music, the title track of Radiohead's 1995 album shows they could still rock out with the best of them.
Sleeper - What Do I Do Now?
Sleeper - What Do I Do Now?
Inbetweener and Sale Of The Century are the best known Sleeper hits today, but in the middle was What Do I Do Now, which made the Top 20 in September 1995.
Echobelly - Great Things
Echobelly - Great Things (The White Room 1996)
Not enough kudos is given to Sonya Madan and Glenn Johansson, who worked on some of the most distinctive tunes of the Britpop era. Great Things is nothing less than a call to action.
Ocean Colour Scene - The Circle
Ocean Colour Scene - The Circle
The Riverboat Song stuck in the nations' heads as the walk-on music from TFI Friday, while The Day We Caught The Train ticked all the Quadrophenia boxes, but The Circle is the more understated OCS single, recalling Mod heroes The Small Faces.
Gene - Olympian
Gene - Olympian
For a number of years, Gene were laughed at in the press for being "mere" Morrissey copyists, but listen closer and there are some epic songs to enjoy.
The Charlatans - Just When You're Thinking Things Over
The Charlatans - Just When You're Thinkin' Things Over
Tim Burgess and co's post-baggy phase saw them move into new areas, in this case country rock. The Charlatans weren't really part of Britpop, but their self-titled album dropped in August 1995, right in the middle of the Blur/Oasis rivalry and offered a sense of traditional British calm in the hysteria.
Dodgy - In A Room
In a room/ Dodgy
Dodgy may have had some fun tunes in the summer of Britpop (Good Enough, Staying Out For The Summer)
Super Furry Animals - God! Show Me Magic
Super Furry Animals - God! Show Me Magic (Video)
Were SFA Britpop? They were many things to many people, but this eccentric single hits all the right notes. Its parent album, Fuzzy Logic, was a highlight of the era, with its Howard Marks cover.
Elastica - Stutter
Elastica - Stutter
Connection and Waking Up get the attention, but their debut (on indie label Deceptive), is a two and a half minute blast of raucous punk that remains fresh thirty years later.
Space - Neighbourhood
Space - Neighbourhood (Official Music Video)
Female Of The Species is the famous one, but we have a lot of time for Tommy Scott's sly song about suburban weirdness.
Lush - Single Girl
Lush - Single Girl
Lush made a name in the early 90s as titans of the shoegaze scene, but a reinvention in the Britpop years showcased the songwriting talent of band members Miki Berenyi and Emma Anderson.
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https://forums.stevehoffman.tv/threads/brit-pop-revisited.77612/
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BRIT-POP REVISITED
|
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Well, as many folks who were extremely unhappy with the IMHO horrible grunge scene of the early 90's I had a serious Brit Pop phase around 93-97. The...
|
en
|
/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
|
https://forums.stevehoffman.tv/threads/brit-pop-revisited.77612/
|
Well, as many folks who were extremely unhappy with the IMHO horrible grunge scene of the early 90's I had a serious Brit Pop phase around 93-97. The whole scene seemed so creative and, yes, fresh - despite the fact that the genre was as old as The Kinks. For a moment it seemed rock'n'roll was back - it was cool, catchy and exiting -great albums like Pulp's Different Class and It's Hardcore, Blur's Parklife and Great Escape, Suede's S/T, Dog Man Star and Coming UP, Radiohead's OK Computer and many others sounded amazing to these ears. Then all of a sudden it all just went away... Was the genre discredited by Oasis and the Oasis soundalikes? Or by million of bandwagon jumpers that followed? Or maybelike any other scene in history it just had it's lifespan? (For me as moscovite what made matters worse was the sheer fact that almost every band in Moscow was playing russian language brit-pop at the time and they all sucked - nowdays it's almost a dirty word among the music lovers). Anyway - I still can't figure it out - when did brit-pop die and did it? Why? I mean there was no visible backlash if I'm not mistaken and it just faded away. Recently I started to rediscover some of my CDs from that era and to my surprise the music is a just as great as it was back then. Not the sonics -unfortunately - somehow you can't really play these CDs on a decent system. Anyway - what do you think of the genre now, more than 10 years after it's heyday? What are your favourite acts and albums? What bands were the good, the bad and the ugly? And why on Earth did it collapse?
Have you seen the Britpop documentary Live Forever? It's a really good one, and it seems to imply that the heyday of '90s Britpop started to come to an end with the release of Oasis' eagerly anticipated and hugely disappointing Be Here Now album in '97, the major shift in Blur's musical focus with the release of their self-titled album that same year, and the rise of Robbie Williams as a major force in the British pop scene.
I still listen to a lot of Britpop; I find the best of it still holds up really well. Pulp's Different Class is still an amazing listen (so many strong songs like "Mis-Shapes," "Disco 2000," "Common People," etc ... incredible stuff). Blur's best records still sound great today. Great singles by Elastica and Echobelly and so many others still sparkle ... Oasis' stuff, for me, has aged less well, but once in a while I still find myself cranking up "Rock 'n' Roll Star" or "Cigarettes & Alcohol" and really getting into them.
I still don't really consider Radiohead to be a "Britpop" band. They just never really fit into that aesthetic, IMO.
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https://ccthelittlewriter.com/2022/09/02/music-disco-2000/
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en
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A Dance to the Music of Time — “Disco 2000”
|
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2022-09-02T00:00:00
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Welcome to my quarter-life crisis. Music is but a gateway.
|
en
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https://s1.wp.com/i/favicon.ico
|
Inkpot Shuffles in the Twilight
|
https://ccthelittlewriter.com/2022/09/02/music-disco-2000/
|
The Song: “Disco 2000”
from the 1995 album Different Class by Pulp
reached #7 on the UK Singles Chart (single mix)
I turned 25 last week. I didn’t think too much about it in the leadup to the big day: there were essays to write, people to meet, online pop polls to be distracted by. But I must have been bothered by it somewhat, at least on a subconscious level, because I kept on looping Pulp’s “Disco 2000” throughout the week, humming it at the office urinals and belting the song out in the apartment stairways. The song just slowly seeped into my everyday life, the way sleep or the changing of the seasons does. But the day of my 25th birthday was when it clicked for me, because all of a sudden I found myself staring at my quarter-life crisis, and it was narrated by Jarvis Cocker.
The thing about quarter-life crises is that they always sound so exciting. It might involve enough existential problems to give Kierkegaard AND Nietzsche headaches for days, but the quarter-life crisis has kind of become the cause célèbre of the 2020s: everywhere you look now, there are artists in their late 20s deconstructing in very minute detail their latest bouts of ennui, fretting about getting one step closer to their middle age, all while still making peculiarly interesting works of art. The members of Pulp were a little older than that — half the band were way past thirty when they walked into the studio to make the Different Class album — but “Disco 2000” is still fresh and exciting, bursting with youthful energy.
It’s still very much their version of youth though: glam rock guitars, references to disco, a riff drawn straight out of Laura Branigan’s “Gloria”. “Disco 2000” is the gender-flipped version of that song: now it’s the girl with the three-syllable name who’s got things sorted out, while the narrator’s still always running around town trying to get her somehow. Oh, and her name is “Deborah” (Deborah!): a name so much dowdier than the glamorous go-getter Branigan sang about; seems like she’s hardly anyone to get excited over. And yet it is exciting — Jarvis’ lyrics sketch out their relationship in a few short lines, and it’s the sort of thing you only see in the movies: born within an hour of each other, childhood friends so close they could have been sister and brother, and then of course the boy started thinking about more than just being friends. It’s the stuff that romcoms are made of.
And yet it never happens. They grew up, they grew apart. She’s moved on, on to different lovers and friends, she’s even got her own baby now; meanwhile he’s barely got his act together and is living on his own. And so the romcom is replaced by a coming-of-age drama: instead of the sunny optimism you expected, everything’s painfully tinged with a hint of regret. Now in his early thirties and alone in his bedsit, you picture him staring at the wall, muttering to himself, pondering what might have been. Maybe if he’d popped the question, maybe if he’d told her sooner, everything might have been different. Might.
“What might have been” is such a poignant question every time you reach a major milestone in your life. But you don’t ask that question when you turn 18 or 21. (If you do, then you’re a character in a YA novel.) 25 is the first instance where the “what if”s start becoming “what might have been”s, where you begin to realise your own mortality: a whole quarter-century gone just like that, and soon after that you’ll be thirty, then forty, then another 25 years will have passed before you realise what’s been happening while you had your mind on other things. 25 is the age where you start thinking of lines like “we never did it, although I often thought of it” and feel a pang of genuine regret, as your youth slowly drains from you. Those are really brief moments (nobody spends their entire day moping about missed chances), but they seem like an eternity, and there’s no way out — no way out, that is, except for that dreamy synth chord you hear in the distance. It sounds like salvation. Pulp grabs onto it, and suddenly the song explodes into full colour.
A millennium is a preposterous span. Imagining people could think about it seriously was always folly. But in the gap between people’s sense of what the occasion ought to merit, and what was actually on offer, strange things could thrive.
— Tom Ewing on “The Millennium Prayer”
“Let’s all meet up in the year 2000” is just such a lovely line. It’s one I quoted extensively in the past week, even though it’s more than twenty-two years past its sell-by date. As a number, “2000” is a nice, round, modern figure that seems to improve on the first thousand; as a year, it offered new opportunities, or maybe it was a reset, where nothing that happened while you were partying like it was 1999 (or before) mattered. In other words, it’s perfect for those of us going through our quarter-life crises: what wouldn’t we give to wipe the slate clean and live those halcyon days all over again. Back in 1995, it must have felt like the ultimate vow, a promise that you could regain your youth and your happy ending simply by turning up for a get-together at the fountain in Sheffield city centre, tomorrow or four years on; for those of us who grew up after the new millennium, though, that kind of optimism seems faintly ridiculous and naïve, even desperate. But then again, the desperation is why we have this song in the first place.
And I’ve been there: in the past couple of years, but especially since the pandemic began, I’ve felt the twin menaces of age and loneliness inexorably creeping up on me. As I approached my mid-20s, and realised I was doing very little with my life that wasn’t being an insufferable academic, that feeling of despair grew ever more potent. I was frustrated at being constantly left on the sidelines — “I had to watch them try and get you undressed” — while being frustratingly unable to move on from people whom I’d crushed on but remained implausibly out of reach (“oh, it meant nothing to you/ Cause you were so popular”). I don’t think about those missed opportunities all the time, but when it does hit me, it hits me like a bullet train. And Jarvis doesn’t just get that, he seems to be living it still: I love the way he puts a particular oomph into “oh, the boys all loved you, but I was a mess”. Been there, mate. Still there myself.
The thing is, that desperation isn’t just a moment in time. It builds, it has longlasting effects, and it only gets worse as you age up. You realise that you’re only going round in circles, stuck in a loop of self-pity and regret that you only feel like you’re destined to repeat as you go decrepit and ugly and your teeth falls out, or whatever it is that happens when you get old. The second time we hit the chorus, it’s already obvious that it doesn’t have the energy of the first: he’s stuck repeating the same old melody, rehearsing the same old sentiments. The promise to meet up fades away, leaving only the stale, musty smell of the bedsit he’s in. So he breaks it off: “do it,” he says, or rather snarls, an angry snarl almost buried by the sound of breaking glass. For a few seconds — what seems like an agonisingly long eternity — he sounds like he’s given up, that he’s seen his hopes and dreams crashing down before him.
ALLISON: When you grow up, your heart dies.
BENDER: Who cares?
ALLISON: I care.
— The Breakfast Club
When I first heard “Disco 2000”, which was not that long ago, I thought it sounded utterly romantic. Yes, this song was obviously a tragedy, but it was a beautifully observed, sonically astounding tragedy — and it was a tragedy you could dance to. (You’d expect that, wouldn’t you, from a song called “Disco 2000”, but Pulp normally employs irony like it’s the last worker on Earth, so.) But I read Marcello Carlin’s review of Different Class last week, and in particular his suggestion that the song “barely conceals a bitter self-realisation of the singer’s unutterable, premature failure as a functioning human being”. I wasn’t so sure whether I should love it anymore after that. It was a hyperbolic indictment, but it was still true, there was no way around it. And if I identified with the guy at the centre of the song — if I identified with Jarvis, basically — did it mean that I, too, was a hopeless failure of a functioning human being? Was I doomed to live out the same tragedy till I turned to ash, my charming potential forever untapped? It seemed true in the lead-up to last week. It still sounds true even as I type these words out.
But maybe I’ve been looking at this the wrong way — maybe it doesn’t really matter. Because romance is definitely one parameter of success as a human being, and I think it’s more important than the naysayers like to claim it is, but it doesn’t have to be the only parameter. That we see one guy being absolutely shit at charming this one particular girl does not necessarily mean that he does not have a successful writing career, or has no other passions or hobbies, or is not a gawky 32-year-old musician who was somehow once voted Britain’s fifth sexiest man. The milestone that is your 25th birthday may signify the death of a particular form of youth, but it is also the prelude to another 25; part of growing up is realising that there are worlds beyond your youthful obsessions, and that new starts are possible. (After all, it was at the age of 25 that Jarvis took a break from Pulp and enrolled in Saint Martin’s College.) Sometimes these new starts are frightfully similar to the old ones, but in the light of experience they can seem a whole lot different; that a dream causes hyperfixation does not mean that the dream itself is not of value — indeed, is very much worth having for the visions it inspires.
Which is why our narrator pumps himself up — “oh yeah, oh yeah” — and launches back into the same pre-chorus, all fired-up with energy and verve and the determination that he will NOT be screwing this one up. He turns his anonymity into a strength — you didn’t notice me at all? Well then, here’s your chance for a fresh start with me. He throws his hands up, and howls his invitation to the heavens and maybe Deborah one last time: “let’s all meet up in the year 2000/ Won’t it be strange when we’re all fully grown? Be there two o’clock by the fountain down the road!” We’ve come a long way from the bitter, reflective man we found at the beginning: for a few moments, Jarvis sounds young and invincible again, the kind of guy who might wag his bottom at Michael Jackson and come out the moral victor. And then he catches us and himself by surprise as he makes one final leap: “what are you doing Sunday, baby? Would you like to come and meet me, maybe?” In the hands of Pulp — Jarvis, Candida, Russell, everyone else — this liminal coda becomes another eternity, one moment suspended in time, a dance to the music of everlasting youth. I hear desperation, yes, but I also hear euphoria in those little “oohs” at the end: it sounds like he’s achieved the impossible, and made it through after all. Maybe he’s worked it out, maybe he hasn’t. You can fill in your own happy ending there.
And that is where we leave him: cocooned in bliss, perhaps deluded; but better to have dreamt of a bright, fairytale ending than to despair that you’ll never get there. Nothing has changed by the end of the song, and nothing needs to. The ephemeral moment of the song passes, we leave pondering the wonders of this romance, wondering where we will go next.
There are, after all, other things that matter besides aiming for an improbable harmony between the inner life and the outer.
— John Sayre Martin, The Endless Journey
When I began this piece two days ago I literally had no idea how to end it: I was more focused on writing down as many words that came to mind as possible, and had no real idea of how I might wrap it all up together. (Subjects broached during that initial frenzied hour included Mad Men, my own misery, and the loss of Jarvis Cocker’s virginity.) I generally have problems wrapping up pieces like this: they’re a brilliant flash of an idea when I start writing it down on paper, then I get about halfway in and then realise that I’ve thrown too many elements together and now I don’t know what my conclusion is. I’ve had slightly better luck with this one, but the stakes seem somewhat higher this time: I’ve put some bits of my quarter-life crisis on the Internet, and now I have to somehow tidy it up and find a way out of it. Simply put, there needs to be an answer.
But that’s the problem: we leave the narrator of “Disco 2000” in his own little wonderland, but we do not know what happens to him after that. Does he wake up and find himself alone and broken again, or does he move on to find his own Deborah after all? What about those little regrets he had along the way, does he ever come to terms with those? In the same vein, I have to ask myself: well, what now, now that I’ve reached 25? I’ve come to that threshold; I’ve stumbled over it without knowing what comes next. Will I keep on making those same mistakes, over and over and over again? Will I ever come out of my comfort zone and build a path to success, or will I watch my life slide out of view? These are questions that bugged me before I created the document for this blogpost, and they are questions that bug me still. And I can’t think of any answers.
But I guess that’s what life is, really: you try to find for it a nice, happy ending, only to discover that nothing really seems to fit; you try to figure a way out, and nine times out of ten you go back to the same old ways. There’s still that one time where you do better, and it’s no small consolation, but progress is slow, apathetic, moved along in fits and starts with no discernible direction. And so I finish this blogpost the way you finish “Disco 2000”: resigned, melancholic, a little bit hopeful. It turned out alright for Jarvis in the end, and I suspect it’ll turn out alright for me. It’s not the ending I hoped for, but it’s the ending I got, and meanwhile there’s 25 more years — heck, even the whole 21st century to look forward to. Life goes on, as it always has.
And so we keep on going, living and dreaming, dreaming of living, cause it’s the only thing to do. And who knows: maybe someday, I’ll get my shit together, and we can meet by that fountain down the road. It’s a promise.
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https://www.vice.com/en/article/6x85j3/revisiting-pulps-different-class-and-how-indie-writes-women-from-history
|
en
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Retrospective Sexism: How Women Are Written Out of British Indie Music History
|
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2015-11-04T12:15:00+00:00
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Surprisingly, my experience and appreciation of British rock, indie and Britpop went further than manic hysteria or wanting to shag the lead singers.
|
en
|
VICE
|
https://www.vice.com/en/article/revisiting-pulps-different-class-and-how-indie-writes-women-from-history/
|
This article originally appeared on Noisey UK
There have been a good few 90s music retrospectives dancing about in my eyeline of late, featuring the usual stock footage: Oasis at the Brits, Blur’s knees-up Parklife routine, Tony Blair at the door of Downing Street. The latest example was the final episode of BBC4’s Music for Misfits series, which looked at the story of the British indie scene.
One episode in particular charted indie’s journey into the mainstream in the 1990s, beginning with acid house and ending in Britpop. The pundits rolled their eyes about the “Battle of the Bands” and the triumph of bro-ish corporatism in the music industry, pronouncing Britpop the beginning of the end of an exciting era of British indie. It’s ironic, given these complaints about bro-ness, that it wasn’t until a whole 55 minutes in that we heard the opinions of a woman: the music journalist Sian Pattenden.
As a female music fan, you get used to this stuff. Your experience is often either ignored or viewed as a mysterious phenomenon. Your deep love and appreciation for a band will frequently be written off as manic hysteria, or just dismissed as a desire to shag the lead singer. The responses of male fans occupy centre stage when it comes to how a scene formed or a band was received, and their female counterparts, in the main, are portrayed as a kind of sideshow.
Even by normal music documentary standards though (which is obviously setting the bar very low) this Music for Misfits episode was extraordinarily sexist. Women artists barely featured at all, and when they did they usually weren’t thought to merit the privilege of being named. Moira Lambert, the vocalist on St Etienne’s first single, was referred to as “a girl” by one pundit, and when we got to Britpop, men pontificated while footage of Elastica and Sleeper flashed past, but the groups themselves weren’t specifically named or discussed at all. Emma Jackson, a sociologist and the former bassist in Kenickie (another band written out of the story), called this indie’s “retrospective sexism” problem. It’s retrospective because it doesn’t matter how important your contribution at the time was or how knowledgeable and involved you were, very little of this will be remembered or records in the annals—or should we say mannals—of time.
I get particularly twitchy about Britpop because this is when, after years of piggy-backing on the music taste of my older siblings, I did indeed find a scene of my own that meant a lot to me. I find it interesting now to think about what it was I, and other teenage girls like me, enjoyed about it, and the ways we used it to find out about the world and ourselves.
I find it particularly interesting to think about Pulp, who, as several experts in the doc pointed out, were something of an anomaly in that scene. They are the only band that has emerged with any real credibility from these recent retrospectives, and are seen as more serious, more interesting, more complex than the rest of the Britpop rabble. Plenty has been said about Pulp over the years, about the searing class commentary, the wit, the irony and the storytelling, the British towns imagery, but somehow, I’ve never felt my experience, perhaps as a female fan, has quite been reflected. No band of this era were more mine, and the experience of being a teenage girl Pulp fan back then was unique and often contradicted.
Continues below
It was His ‘n’ Hers that first hooked me, in the autumn of 1994, with its sexual melancholy and tales of suburban desire. This album, along with the extensive Pulp back catalog, was enough to soundtrack my adolescent angst and longings until the following May, when there was finally some new Pulp material to buy. Here came “Common People” in all its splendour and majesty, that summer’s indie disco call-to-arms. Then at last on Monday, October 30, Different Class was released. With it, came that feeling of unparalleled delight in the life of a music fan, when a new album presents itself to you like a little box of treasure: look at all those songs!
I loved the wit and sharpness of “Sorted for Es and Wizz”, and the way it cut through the bullshit of a rave culture that I’d been too young to experience. “Disco 2000” struck me as delicious, high energy disco pop. Jarvis—brilliant, clever Jarvis—made everything seem so fun and amusing; this was a world I wanted to enter. Listening to Different Class now, it feels a little baggy and inconsistent, with a few weak tracks alongside some absolute stormers. But at the time this didn’t matter, they all seemed like distinct and perfectly contained little stories.
Yeah, sex was a big part of the appeal for me, but not a carnal and reductive desire for Jarvis himself, or any other man in the band. There was a libidinous drive that ran through those songs, a lot of which came from the lyrics, but was also right there in the music and aesthetic, in the shimmer and whirr of Candida Doyle’s keyboard, the deep, thrumming basslines, the spiky guitar. The songs didn’t need to be about sex to sound sexy, but it just so happens they often were. When, in “Monday Morning,” Jarvis sang about a dead-end life of unemployment, hangovers and chucking up on the street, it seemed somehow glamorous. Early morning comedowns in “Bar Italia?” Well I’d never had one of them, but I wanted one. There was something strangely aspirational about Pulp’s world of grubby hedonism.
At times though, something darker and more unpleasant ran through a lot of the album. Jarvis was clearly angry with women. He was in full-on class warrior mode, shown off to beautiful effect, of course, in the tale of the rich Greek voyeur in “Common People.” But a more violent side reveals itself, in which women are the locus of his fury and his desire for revenge; a weapon to be used in the war of haves against haven’ts. There’s a terrifying thrill to all this when he does it in “I Spy”—those swooping strings, the overblown hubris of the storytelling, his menacing monologues. But in “Pencil Skirt,” a song about an affair with an engaged woman and musically fairly pedestrian, it’s just plain nasty. “I only come here cause I know it makes you sad,” he sings.
To be honest, there’s plenty there to feel uneasy about in that record, but it’s a perspective I never see in these historical documentaries. As Pulp go, I have made a kind of peace with it now—by seeing it as Jarvis’s deliberate grotesquery, a character that he’s constructed to tell us something of the darkness, violence and power play in sex and relationships. And while at times he’s got a kind of beautifully searing righteousness, he’s certainly not setting himself up as any kind of moral or ethical figure, and this tension is surely where part of his appeal as a songwriter and performer lies.
Don’t get me wrong: I know we don’t look to our pop stars for political purity, but it’s worth talking about the process we go through as women when we see misogyny in the artists that we love. It’s not exactly uncommon, though it might not be something that we see straight away. I’ve found a way to continue listening to Pulp and love it, but I’ve had conversations with other women who can’t quite enjoy it in the same way anymore.
When you understand that music is still fundamentally seen as the territory of men in mainstream culture, it’s obvious why none of this is discussed properly. People like to lazily toss most music and misogyny arguments straight at hip-hop, but the list of big successful artists with questionable gender politics is a far broader than that—John Lennon? Dylan? The Rolling Stones, anyone? It shouldn’t just be brushed aside as an incidental detail, it needs to be acknowledged. As women listeners we negotiate this stuff all the time, consciously and unconsciously, and this process is mostly invisible.
It’s for those reasons that when documentaries like BBC4’s Music For Misfits write women out of history—from women who challenged the norms, rewrote rules, and changed their era, to women who bought the records, filled the gigs and formed the scenes—they exacerbate the issues and freeze progression in time. It’s like it never happened at all, and the history of music reverberates endlessly as a gaggle of girls screaming at a stage beneath the voice of some weary male talking head explaining what the music was really about.
Some amends were made by the BBC this past Friday with the airing of Girl in a Band, which looked at women rock musicians, but women’s role in all this—in making music, writing and thinking about it—should be more than just fodder segregated away for a special one-off. To make it more than this, it needs to be established as our territory, and our experience needs to be reflected, back then and right now. These discussions of the past should be flooded with the voices, stories, opinions and thoughts of women. Because there’s plenty of us out there, with plenty to say, about the thrills, pleasures and tensions of living and loving music—you just need to ask.
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https://volt.fm/genre/1597/britpop
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en
|
Britpop artists, songs, albums, playlists and listeners – volt.fm
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Everything about Britpop — Artists, playlists and top listeners.
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https://volt.fm/genre/1597/britpop
|
See your Spotify stats (with number of plays and minutes listened) and discover new music.
Music data, artist images, album covers, and song previews are provided by Spotify. Spotify is a trademark of Spotify AB.
|
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https://sungenre.com/artist/blur/
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en
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Blur
|
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Blur on Sungenre. Blur's top songs, music videos, upcoming shows, reviews, articles, official links, bio and contact details.
|
en
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Sungenre
|
https://sungenre.com/artist/blur/
|
Blur are an English alternative rock band. Formed in London in 1988 originally under the name Seymour, the group consists of singer Damon Albarn, guitarist Graham Coxon, bassist Alex James and drummer Dave Rowntree. Blur's debut album Leisure (1991) incorporated the sounds of Madchester and shoegazing. Following a stylistic change influenced by English guitar pop groups such as the Kinks, the Beatles and XTC, Blur released Modern Life Is Rubbish (1993), Parklife (1994) and The Great Escape (1995). As a result, the band helped to popularise the Britpop genre and achieved mass popularity in the UK, aided by a chart battle with rival band Oasis in 1995 dubbed "The Battle of Britpop".
Blur's self-titled fifth album (1997) saw another stylistic shift, influenced by the lo-fi styles of American indie rock groups, and became their third UK chart-topping album. Its single "Song 2" brought the band mainstream success in the US for the first time. Their next album, 13 (1999) saw the band experimenting with electronic and gospel music, and featured more personal lyrics from Albarn. Their seventh album, Think Tank (2003), continued their experimentation with electronic sounds and was also shaped by Albarn's growing interest in hip hop and world music, featuring more minimal guitar work. Coxon left the band during early recording sessions for Think Tank, and Blur disbanded for several years after the end of the album's associated tour, with the members engaged in other projects...
Read more at Wikipedia
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https://pitchfork.com/features/lists-and-guides/10045-the-50-best-britpop-albums/
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en
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The 50 Best Britpop Albums
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2017-03-29T01:00:00-04:00
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Blur, Suede, Elastica, Pulp, Oasis—here are the mis-shapes who made the scene great
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en
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https://pitchfork.com/verso/static/pitchfork/assets/favicon.ico
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Pitchfork
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https://pitchfork.com/features/lists-and-guides/10045-the-50-best-britpop-albums/
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“‘Britpop?’ It’s just a shitty-sounding word,” Jarvis Cocker told Pitchfork this month. “I don’t like the nationalistic idea of it; it wasn't a flag-waving music. It was really distasteful when it got called ‘Britpop’ because that was like somebody trying to appropriate some kind of alternative culture, stick a Union Jack on it, and take the credit for it.”
But Britpop, by any other name, still would’ve been a phenomenon. Born in London in the early 1990s, in grimy pubs and bare flats, the scene offered a thrilling new soundtrack for young British life. Bands like Suede, Blur, Oasis, Elastica, and Cocker’s Pulp captured the charms and eccentricities of their country while also excising their frustrations with class and community, topping it all with a defiant, tongue-in-cheek glamour. Their guitar-heavy anthems drew from the rock of 1960s England along with the pulse of waning Madchester and alt-rock trends, exporting this exuberant sound to every corner of the globe. By the late ’90s, this once-scrappy scene was so culturally powerful, it inspired tabloid blood rivalries (Blur vs. Oasis) and was hijacked by politicians (Britpop’s star emissaries, including Cocker and Oasis’ Noel Gallagher, were invited to meet Prime Minister Tony Blair). The cultural flash faded around the turn of the millennium, but not before Britpop reinvigorated rock‘n’roll, moving its epicenter from American grunge back across the pond.
But more than geography and quick wit twines the Britpop scene together. With this list, we are defining Britpop as the musical scene active in the United Kingdom in the mid-’90s. Particularly, we are looking at the guitar-based musicians who shared focus on anthemic melodies, social observations of British culture and daily life, and their country’s musical heritage. Voters in this list come from the U.S., the UK, and Canada, and in the process of assembling it, we discovered that each location had a slightly different idea of what Britpop entailed; the final result represents the aggregate sensibility of its contributors. We’re not looking so much to progenitors (i.e. the Smiths, the Stone Roses), or alternative rock acts that followed (Coldplay, Kasabian), and location is also a factor—sorry, Anglophile rockers in the colonies.
But before we dive into all that, let’s choose life with the director of the film that, as much as anything, made the world fall in love with Britpop.
Mile End and Needle Drops: Danny Boyle on Britpop and the Music of Trainspotting
Pitchfork: Britpop was an important part of the Trainspotting soundtrack: Blur, Pulp, Sleeper, Elastica. What role did music play in creating that film in 1996—what were you listening to? What were you energized by?
Danny Boyle: Everything. It’s one of the things the film’s about, in a way. Music was an autonomic function for me. I just knew everything about music; I didn’t even think about it. And then you get older, there’s obviously a tipping point where you don’t know everything about music, and somebody mentions a band and you go, “What? Who?” That’s the tragedy of getting older, I suppose, for someone who was as obsessed with music as I was.
Initially, certainly with the first couple of my films, people regarded my use of music as non-classical filmmaking—even though people like Scorsese were doing it. There was outrage that I was cutting everything like MTV, like a kind of pop video. But actually, I loved pop videos. Adored them. Thought they were a breath of fresh air and a great cultural moment. And these characters, especially when you read the book, they are pop culture. It’s part of the architecture of their lives, like it is for so many of us.
The whole archaic notion of highbrow/lowbrow.
Right, all that. The heartbeat of the film was this Underworld album, dubnobasswithmyheadman... We used one track from that album and a new track that they put out as an unsuccessful single, “Born Slippy,” which I found in an HMV store.
At the time, although we weren’t as aware of it as you’re aware now, Britpop was happening. It’s been emulsified as an occasion, in retrospect. But at the time, it didn’t feel like it. I remember Jarvis Cocker and Damon Albarn coming in to watch a rough cut of the film. Damon wasn’t sure about it; he was worried about the drugs side of it. But Jarvis said to him, “Oh, no, it’s like, really cool, man,” and sent us a few songs.
Pulp’s “Mile End” was new for the soundtrack, right?
It was, and I lived in Mile End. It was unbelievable; it was like synchronicity. I mean, I still live there. The area's been gentrified a bit now, like so many places, but at the time it was pretty rough. I was so proud of that.
So Damon Albarn, who at times had a bit more of a party reputation than Jarvis Cocker, was the one who had reservations about the content?
I mean, it was very disturbing at the time to watch it, because obviously it was a celebration of youth, really, of that time of life, in all its recklessness and carelessness, and obviously when you bring heroin into that equation, it’s quite hardcore. But [Albarn] was great, and he gave us this song, and I remember him saying, “I haven’t got a title for it.” And I said, “Oh, there’s an amazing phrase in Irvine [Welsh]’s book where he calls heroin users ‘closet romantics.’” They’re romantic people the drug affects most terribly, and they’re often, in Irvine’s experience—certainly as it’s expressed through the book—those that can’t even acknowledge they are romantic. And it kind of seals their fate, really, for their life. And so he called it “Closet Romantic.”
When you fit music to film, sometimes it works and sometimes it doesn’t work. But it was weird—everything we did seemed to work then. Obviously the film was made in that spirit of a time in your life but in reality, the characters span an almost unnatural length of time as young men—because their references are actually punk, which is my era, and kind of Britpop, which is more like the actors’ era. And there’s like 15 years between us. They couldn’t really have gone to see Iggy [Pop] in concert. That’s an amazing scene in the book and it leads to the obsession with “Lust for Life.” So they couldn’t really span all of that time, but of course it’s a movie, so you can compress time, extract time, avoid it.
We didn’t use any score music at all; it’s all what they call “needle drops.” Even though it’s a very emotional rollercoaster, there's no manipulative music, no almost-invisible score music which you use to manipulate emotions. It’s all purposeful and highly presented in terms of volume. Nothing is floated in subliminally. Everything's like, “Ping!” Here’s the song. It’s just as important as the dialogue. It’s just as important as the characters.
Were you going to a lot of shows when you were working on Trainspotting?
Yeah. Not so much now. It’s that same story. In the preparation for the new Trainspotting film, we did talk about repeating a scene that’s in the original book: They all go to an Iggy concert in Glasgow and Tommy, the character who dies, has a spiritual moment where Iggy looks at him from the stage and sings the line, “Scotland takes drugs in psychic defense” to him. And when we were talking to Iggy about using “Lust for Life” early on, I was telling him we might do a scene at one of his concerts and the guys would be older, going back, remembering one of their heroes who was still working. It didn’t work out, unfortunately, because he was in South America by the time we were shooting, but Iggy remembered the story from the book and he remembered that line. He had read the book. I mean, I was amazed.
Were you one of the ones who went to Glastonbury and saw Pulp’s iconic performance in ’95?
No, I never did that. I remember watching it live on the telly, saw “Common People.” That’s one of the great moments. Irvine sent me a link the other day saying what’s-his-name, Captain Kirk, had recorded “Common People.” William Shatner. Star Trek! He recorded “Common People”! He records all these songs apparently and they’re slightly jokey but quite good versions. So anyways, yeah, I’d seen Pulp at the Brixton Academy, probably before Glastonbury. I’ve never been to Glastonbury, but my daughters go.
Your song choice as director of the 2012 Summer Olympics’ opening ceremony was fascinating. “Song 2” was one of them.
That’s an amazing song. My argument in presenting the Olympics was: Listen, you want to talk about what we are good at? We were good at the Industrial Revolution. That was a long time ago. What are we good at now? Music. Culture. We’re really good at it. We should be prouder of it, spend more money on it, promote it more, educate kids more into it—that it’s theirs and that we’re good at it. Fuck’s sake.
I remember trying to fit “Wonderwall” in and I just couldn’t fit it in anywhere.
Speaking of Oasis, I read that you wanted Oasis in the original Trainspotting soundtrack but they took the title too literally and refused. Is that true?
I’ve heard that story as well, but I have no idea whether that’s true. It’s funny because obviously I remember promoting the first film, having to explain the title, especially in America because the word had no meaning at all. It was like a made-up word. Now there are so many more connections with geek culture—you know, internet obsessives. It just has so much more resonance.
Lastly: Oasis or Blur?
I knew you’d do that! Well I come from Manchester, you see. So that’s my answer.
Danny Boyle is the Academy Award-winning director of Trainspotting, Slumdog Millionaire, 28 Days Later..., and T2 Trainspotting, in theaters now.
Interview by Stacey Anderson
50.
Denim: Back in Denim (1992)
After the indie enigma Lawrence (born Lawrence Hayward) ended his project Felt in 1989, he made plans for a new band, a new decade and—this time, surely—imminent fame. His schemes were typically idiosyncratic. In 1990, as Lawrence’s indie peers turned onto dance music, betting his reputation on the guitar crunch of glam rock would have seemed perverse. But for once, Lawrence’s studio perfectionism brought him in sync with the times: Back in Denim came out at the end of 1992, at the start of Suede’s glam-driven rise. The 1970s, and its pop templates, had suddenly come in from the cold.
Back in Denim is more than just a nod to the 1970s: It’s a memoir of the decade as seen by a British kid (“The Osmonds”), an acting-out of boyhood superstar dreams (“Back in Denim”), and a pledge of devotion to better times (“I’m Against the Eighties”). Like most of Lawrence’s projects, it relies on his slightly nasal, flat-affect voice, which can be a hard taste to acquire. But this time, Lawrence is backed by the famed producer John Leckie (Public Image Limited, the Fall), which makes the stomping, platform-booted hooks sound authentically massive. In the end, Denim came no closer to the big time than Felt, but Lawrence’s tunnel-vision dreams of the 1970s and his unashamed pop aspirations helped light Britpop’s fuse. –Tom Ewing
Listen: Denim: “Back in Denim”
49.
James: Laid (1993)
In the early 1990s, even when whip-smart Britpop singles seemed to vie for national anthem status in the UK, they rarely got many spins on American radio. But when James released “Laid”—with its cross-dressing, therapist-referencing protagonist—one of Britain’s most intelligent bands finally broke through to the States. By then, they had been around for nearly a dozen years; they’d already toured with the Smiths, partied at the Hacienda, and had hits with the Madchester anthem “Come Home” and the poppy “Sit Down.”
Laid is emotionally ragged, earnest, and rife with dashed dreams of romantic and religious security. Tim Booth repeats lyrical phrases like meditative mantras, particularly with his cries of “Here they come again!” on “Out to Get You.” Producer Brian Eno gently but significantly expands the band’s textural palette, adding synthesizers and emphasizing reverbed slide guitar (the latter inspired by James' 1992 acoustic tour with Neil Young). James would never have a hit like “Laid” again, but crucially, they showed the value of reinvention to their tour openers that year: a young band called Radiohead. –Elia Einhorn
Listen: James: “Laid”
48.
Echobelly: Everyone’s Got One (1994)
Led by Sonya Madan, Echobelly stood out in a scene largely comprised of white guys with guitars. She wasn’t the only female in Britpop, of course, nor was she the only singer of Indian descent (Cornershop was led by Tjinder Singh), but Madan was singular in her confidence: She seized guitar rock from the lads, molding it in the shape of her bold personality.
Madan was an acolyte of Morrissey, and a follower of his octave-leaping melodies and fey swoon, but on Everyone’s Got One, she’s not plagued with his self-doubt or irony. Look at the title: It reduces to an acronym of EGO, no coincidence for a band whose first hit single was “I Can’t Imagine the World Without Me.” Echobelly hit harder than the Smiths: Their guitars slice and roar, clearly indebted to the neo-glam explosions of Suede’s Bernard Butler. Furthermore, the tempo on Everyone’s Got One doesn’t slow until "Taste of You," the halfway point, which gives it a certain relentlessness; still, they flash a sentimental streak on "Insomniac," which pairs that thunder with vulnerability not heard much elsewhere. It’s a sly, affecting grace note on a record that captures the unbridled self-confidence of Britpop. –Stephen Thomas Erlewine
Listen: Echobelly: “I Can’t Imagine the World Without Me”
47.
Placebo: Without You I’m Nothing (1998)
Brian Molko is bad at a number of things. Chief among them: picking cover art, quoting Bob Dylan, and judging his own work. Upon the celebration of Placebo’s 20th anniversary, the frontman ranked his albums, a futile exercise for a band with only one standout—and he placed it sixth.
Without You I’m Nothing establishes, once and for all, everything Molko is good at: First and foremost, rhyming words with “weed” and making straight men ask themselves a lot of questions while watching the “Pure Morning” video. Placebo’s taste is impeccable here, cribbing Sonic Youth’s dissonant guitar squalor, block rockin’ beats, and a reverent take on David Bowie’s gender-bending queen bitch shtick that impressed the man enough to feature on a remix of the title track. But Molko’s genius lies in repackaging all that into pithy, pissy anthems for the sullen, sexually curious teens who were reflexively turned off by Britpop’s rigid heteronormativity, and whose access to pop culture only went as far as the mall or basic cable. Yeah, the Bowie cosign must’ve been nice, but the crucial placement of “Every You Every Me” in the Cruel Intentions soundtrack confirms Without You I’m Nothing’s true legacy as Britpop’s finest piece of late-’90s alterna-trash. –Ian Cohen
Listen: Placebo: “Every You Every Me”
46.
The Divine Comedy: Casanova (1996)
If the central tension of Britpop was middle-class (Blur) vs working-class (Oasis), that left an obvious space for the upper class. Enter Neil Hannon, son of an Irish bishop, who takes wicked delight in playing the louche aristocrat throughout Casanova. His plummy tones, sprightly hooks, and appetite for pastiche means there’s something joyful in every track, even if there’s usually something preposterous, too.
This irrepressible bonhomie made Hannon a star, championed by the same tastemakers who’d embraced “lad culture” and Oasis. But maybe that wasn’t such an unlikely alliance: Casanova is an album about sex—or, rather, the pursuit and consequences of it—and underneath the jollity and artifice, darker notes sound. The wannabe pick-up artist of “Becoming More Like Alfie” and the jaded and jilted narrator of “The Frog Princess” are insecure and sour; the jokester of “Through a Long & Sleepless Night” brims with melodramatic venom, and Hannon never glosses over the grubby and dishonest aspects of male desire. The Scott Walker-influenced final track finds the once-great lover on his deathbed, alone save for his faithful horses and hounds: It’s grandiose and pompous but beautiful nonetheless, a fitting farewell for a deceptively high-spirited album. –Tom Ewing
Listen: The Divine Comedy: “Theme from Casanova”
45.
Mansun: Attack of the Grey Lantern (1997)
If Paul Draper had kept his nerve, Mansun’s debut album would’ve been a superhero origin story and the unlikely upstart that bested Be Here Now, Urban Hymns, OK Computer, and Ladies and Gentlemen We Are Floating in Space for the most grandiose British rock album of 1997. Instead, Draper admittedly "ran out of steam" and delivered “half a concept album—a con album," a sly acknowledgment of the pretentious trickery at the core of these projects. Though the inexplicably resequenced American version of Grey Lantern made any storyline a moot point, we’re lucky that “Dark Mavis,” “Stripper Vicar,” and “Egg Shaped Fred” aren’t plot points but rather pop songs on one of the most beguiling records to ever hit No. 1 in the UK. Glam, prog-rock, James Bond themes, record-scratch effects, Rule Britannia kitsch, a seven-minute interpolation of the Revolver song about taxes, a panoramic glam-folk single remixed by Paul Oakenfold when that sort of thing mattered—it's all here, and nothing else sounds like The Grey Lantern. –Ian Cohen
Listen: Mansun: “Wide Open Space”
44.
Edwyn Collins: Gorgeous George (1994)
The most famous track on Edwyn Collins’ third album is his ingenious 1960s throwback “A Girl Like You,” one of the best singles of the Britpop era. Highlighted by the ex-Orange Juice frontman’s aloof, Bowie-esque croon and a recurring marimba lick played by Sex Pistols drummer Paul Cook, “A Girl Like You” became an unexpected hit after it appeared in the 1995 Gen-X comedy Empire Records. In the U.S., where “A Girl Like You” hit the Top 40, the song epitomized Britpop for many Americans; no song by Blur or Pulp ever charted so high stateside.
However, anyone who sought out more tunes like “A Girl Like You” on Gorgeous George was bound to be disappointed: The rest of the LP is quieter, predominantly acoustic, and slyly sardonic. An important figure in European post-punk, Collins never set out to be a pop star. On songs like “The Campaign for Real Rock” and “North of Heaven”—the latter of which includes a then-timely dig at Guns N’ Roses—Collins is content to be the clever outsider. But “A Girl Like You” put Collins in the mainstream by exporting a familiar British commodity: timeless, James Bond-style cool. –Steven Hyden
Listen: Edwyn Collins: “A Girl Like You”
43.
Catatonia: International Velvet (1998)
Catatonia frontwoman Cerys Matthews made headlines for boasting that International Velvet’s lead single, “Mulder and Scully,” was better than Oasis’ single “All Around the World.” Their “X-Files” reference was a gamble—nostalgic at the time, with Matthews wrapping her thick Welsh accent around those sci-fi detectives—and it pushed the band to the top five of the UK album charts. It was an able representation of their second album, who reference cultural trivia throughout: “I Am the Mob” winks at The Godfather, and “Road Rage” was inspired by an infamous 1996 murder case in which the victim was stabbed by his fiancée, who claimed the attack came from a stranger.
The singles stalked the charts and cushioned Catatonia in the bosom of mainstream radio, their insatiable pop choruses still standing up as some of Britpop’s most immediate. The album has much more diversity to offer, too, from the downbeat intimacy of “Why I Can’t Stand One Night Stands” to the trippy beats of “Goldfish and Paracetamol.” Also notable: The confidence of the UK music industry was such in 1998 that the title track was sung in Welsh, rendering “International Velvet” Wales’ unofficial anthem. –Eve Barlow
Listen: Catatonia: “Mulder and Scully”
42.
Ocean Colour Scene: Moseley Shoals (1996)
In 1996, the opening bars of Moseley Shoals were used to introduce guests on the British TV show “TFI Friday,” the place where Britpop’s finest characters were blasted into the homes of the public. There was no greater rubber stamp to secure this Birmingham quartet’s place among Britpop’s finest, and it was a significant feat for a band who rose up via Madchester, only to be too late to catch that wave with their 1992 debut. Soon enough, though, scene kingpins Noel Gallagher and Paul Weller were singing OCS’s praises, teeing up an audience for the group’s newly looser, R&B-inspired jams.
Front-loaded with singalong staples such as “The Riverboat Song” and “The Day We Caught the Train,” Moseley Shoals moseyed its way onto indie dance floors and remains there to this day. During the summer of its release, workmanlike bands inspired by Northern soul and ’60s throwback were inescapable. Despite the fact Ocean Colour Scene remained brutally uncool, not least from their unwavering lack of pretense, they represented the art of big-hearted, blue-eyed rock’n’soul at a time when Britpop was becoming flashy and bombastic. –Eve Barlow
Listen: Ocean Colour Scene: “The Day We Caught the Train”
41.
Space: Spiders (1996)
Often enough, bands throw everything but the kitchen sink into their debut albums to see what sticks. That's certainly true of Spiders, which contains rock (“Me & You Vs the World”), funk (“Voodoo Roller”), trip-hop (“Money”), and a trumpet solo (“Dark Clouds”). The album was almost too smart for its own good, and served proof that Britpop bands could—and arguably should—defy the retrogazing that was suddenly so trendy.
Even within songs, Space’s genre-bending makes it impossible to define the foursome's sound, which comes across as psychedelic as Happy Mondays yet equally inspired by Cypress Hill and Ibiza nightlife. Recorded in Liverpool, Spiders was released via Gut Records, renowned for bold, unpredictable chart hits like Right Said Fred’s “I'm Too Sexy.” Employing the production clout of Nick Coler, who was integral to the KLF's style, these tracks are madcap narratives born from lyricist Tommy Scott's obsession with films, and the hilarious images have more in common with horror B-movies than anything that happened in Britain in 1996. For a band who looked to have their tongues firmly in cheek, they paved their own seriously inventive road. –Eve Barlow
Listen: Space: “Me & You Vs the World”
40.
The Boo Radleys: Giant Steps (1993)
In 1993, the Boo Radleys were brimming with so much brazen creativity that not only could they steal their third album’s title from John Coltrane, they could live up to its next-level promise. Just as Britpop was coalescing as a movement, the Merseyside band was already waging a sonic assault on the scene’s retrograde sensibilities. Like many of their contemporaries, the Boos were devout students of the Beatles but, as adept as they were at ’60s psych-pop simulacrums, they were more interested in applying the anything-goes experimentalism of the post-Sgt. Pepper era to dub, free jazz, orchestral soundtracks, and other crate-digging concerns. The band’s formative shoegaze remains, but here it serves as the fabric that holds these disparate sounds together.
On Giant Steps, it feels like the ground will drop out from underneath at any moment. Pensive harpsichord ballads erupt into symphonic cacophony (“Thinking of Ways”); breezy, flute-trilled, jangle-folk serenades are ravaged by swirling, tape-loop tornadoes (“Barney (...and Me)”). Aquatic reggae ripples into a tsunami of brassy pop grandeur (“Lazarus”). But the combination of guitarist/chief songwriter Martin Carr’s masterful melodicism and singer Simon “Sice” Rowbottom’s choir-boy croon keeps you floating safely throughout. Alas, Giant Steps would amount to just a tiptoe into the U.S. market for the Boos. That year, the band would get more stateside exposure for covering “There She Goes” by the La’s on the So I Married an Axe Murderer soundtrack—a faithful facsimile that, sadly, misrepresented a band who sought to change the shape of Britpop to come. –Stuart Berman
Listen: The Boo Radleys: “Thinking of Ways”
39.
Super Furry Animals: Radiator (1997)
It’s a testament to the amount of blow being hoovered at Creation Records in the mid-’90s that, at one point, a band who released an EP titled Llanfairpwllgwngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space) was bandied around as the next Oasis. And for a moment, Super Furry Animals seemed amenable to being Britpop by association, loading up their 1996 debut Fuzzy Logic with mad-for-it anthems that drew on genre-mandated proportions of ’60s psych and ’70s glam. But on their second album, Radiator, the band took the first exit ramp they could out of the Britpop rat race and began burrowing their singular path forward.
While Radiator continued the melodic immediacy of its predecessor, it also established the fusion of guitar rock and electronic sonics that would become the band’s standby. The album also provided the first real evidence that Gruff Rhys’ charismatic croon was well suited to both wacky and weighty material: For every comical fuzz-punk rave-up about mythical bloodsucking monster-bats (“Chupacabras”), there was a rueful folky-Dory rumination on more existential evils (“Demons”). The band’s great progress can be most accurately gauged by the closer, “Mountain People”: What begins as a formal, Ray Davies-esque exercise in social observation gradually builds into a volcanic expulsion of squelching, thumping techno. And after conquering that fiery peak, Super Furriy Animals never looked back. –Stuart Berman
Listen: Super Furry Animals: “Mountain People”
38.
McAlmont & Butler: The Sound of… McAlmont & Butler (1995)
Bernard Butler’s last year with Suede was not a happy one, so it wasn’t a surprise when he left the band as they were completing their second album, Dog Man Star. Freed to pursue his lavish visions, Butler teamed with former Thieves singer David McAlmont on an album that functions as a riposte to the towering darkness of Suede’s sophomore record. Bright and bold, with an unapologetic debt to lush 1960s pop, The Sound of… McAlmont & Butler is both an album of its time and somewhat out of step with it.
Much of this is due to the pair’s idiosyncrasies. McAlmont isn’t a soul singer, per se—he’s a cross between Terence Trent D’Arby and Glenn Tilbrook, a powerhouse with pop mannerisms. This suits a record that swings like the ’60s but is undergirded by a sense of New Wave songcraft: "What’s the Excuse This Time?" feels like a splice of Squeeze and Prince. McAlmont may be the frontman, but there is no doubt that this is Butler’s album: The Sound airs out his prog inclinations, with "You Do" running seven-and-a-half minutes as it becomes thoroughly intoxicated on its own swirls of strings and guitars. It’s a celebration of sound that exudes exuberance, a swagger that’s right in line with the heady indulgence of Cool Britannia. –Stephen Thomas Erlewine
Listen: McAlmont & Butler: “You Do”
37.
Sleeper: The It Girl (1996)
The It Girl launches with a clanging, slightly acidic chord that lands brusquely and takes its sweet time to dissipate—an assertive burst à la George Harrison’s kick into “A Hard Day’s Night.” But Sleeper’s second album is more than the retro ’60s photocopy favored by so many of their Britpop peers; it’s guileless in its bounce-along blend of skiffle guitar, riot-grrrl crackle, and jazzy basslines. There’s even a bit of the Clash’s punk-reggae furor on “Sale of the Century,” a glimpse at Sleeper frontwoman Louise Wener’s well-earned frustration: the glamorous singer was a lightning rod for sexist criticism, her light croon regularly maligned in fetid live reviews. The lads of Trainspotting didn’t shrink from Sleeper’s charms, though, when the band’s cover of Blondie’s “Atomic” nearly stole the show on that film’s iconic soundtrack. –Stacey Anderson
Listen: Sleeper: “Statuesque”
36.
Teenage Fanclub: Grand Prix (1995)
“I don’t need an attitude,” sings Raymond McGinley on “Verisimilitude.” “Rebellion is a platitude/I only hope the verse is good.” By shedding the flannel and feedback of 1991’s Bandwagonesque and aspiring instead to power-pop perfection, Teenage Fanclub practically guaranteed that they would be underrated. In a notorious essay pitting them against Suicide, Nick Hornby framed the Scottish band as the acme of amiable middlebrow songcraft—a sincere compliment that sounded like faint praise.
Still, what songs they are. Despite their unwaveringly American influences (the Byrds, Big Star), good timing brought Teenage Fanclub into alignment with Britpop at the precise moment that their musical chemistry peaked. (Liam Gallagher called them “the second best band in the world.”) McGinley, Gerard Love, and the endlessly melancholy Norman Blake are so evenly matched here that Grand Prix plays like a singles collection, every jingle-jangle riff and bittersweet harmony a delight. Ain’t that enough? –Dorian Lynskey
Listen: Teenage Fanclub: “Sparky’s Dream”
35.
Black Grape: It’s Great When You’re Straight...Yeah (1995)
Britpop successes are stories of improbable survival: Maybe you weathered a ruthless tide of hype cycles, or transcended an imploding scene, or perhaps you just stayed together long enough to finally hit it big. Shit, maybe you just didn’t die. Shaun Ryder, of the Happy Mondays and later of Black Grape, can say all of this and more, and It’s Great When You're Straight...Yeah is a jubilant survival song.
With the Happy Mondays, Ryder basically invented the deliriously debauched Madchester scene, and nearly killed himself a million times over in the process, but he didn’t make his masterpiece until he cleaned up (for the first time, anyway). It’s Great When You're Straight...Yeah is the moment, post-rehab and recovery, when parties start being fun again. The music—a fat, blocky, honking mix of horns, drum loops, and Ryder’s exuberant shouts—feels livelier and looser and more joyously warped than the Mondays ever did. And they are funnier: On "Kelly’s Heroes," Ryder lampoons the hero worship of the scene he spawned, and "Tramazi Parti" is a piss-take at the idea that taking lots of drugs could be fun in the first place. –Jayson Greene
Listen: Black Grape: “Tramazi Parti”
34.
Ash: 1977 (1996)
Ash seemed to want nothing to do with the Beatles/Kinks axis that dominated Britpop, instead mining the puppyish aggression and buzzsaw melody of the Undertones, their Northern Irish antecedents. Ash barely sounded like Britpop but sat neatly in a post-Pixies UK indie scene, as in love with Veruca Salt’s “Seether” as they were the Bluetones. (Football had their hearts, too: The cover of 1977’s calling card single, “Kung Fu,” depicts Manchester United star Eric Cantona executing a mid-match flying kick on a rival team supporter.)
Ash’s reputation ultimately hinged on a brace of singles, “Girl From Mars” and “Angel Interceptor,” which provided a neater encapsulation of teen infatuation than any other Britpop act could. It didn’t hurt that Ash were young—Tim Wheeler and Mark Hamilton were still just 18 when those songs charted. If the mid-tempo hits “Goldfinger” and “Oh Yeah” sound like a dressing-up box raid on Suede and Oasis (with whom they share a producer in Owen Morris), and deeper cuts betray a Gallagher plod, the band channel their youthful vim to spend the last five minutes of the album (“Sick Party”) violently throwing up. –Laura Snapes
Listen: Ash: “Girl From Mars”
33.
Black Box Recorder: England Made Me (1998)
After he unwittingly helped invent Britpop with the Auteurs and retold terrorist history on Baader Meinhof, a solo concept album about Germany’s radical leftist Red Army Faction, the sui generis indie gadfly Luke Haines formed what was intended to be a duo with ex-Jesus & Mary Chain drummer John Moore. But when Black Box Recorder wrote their chilling first song, “Girl Singing in the Wreckage,” about a teen mom and her baby stumbling through the debris of a plane crash, they realized it required a female vocalist. Enter Sarah Nixey, an ingénue whose icy whisper could telegraph posh boredom just as convincingly as twisted sensuality. In his memoir Bad Vibes, Haines calls her “our Trojan horse.”
Not that Black Box Recorder’s entry into the pop mainstream, with their debut album England Made Me, went so smoothly. Banned from radio for its deadpan chorus, “Life is unfair/Kill yourself or get over it,” the listless single “Child Psychology” embodies all that is unsettling about this quintessentially English release. An anthology of childhood vignettes and suburban tableaux laced with casual cruelty, the album cuts deepest when it goes quiet and introspective. Moore’s twinkling percussion situates Nixey’s damaged narrators inside a bleak dollhouse caked in the dust of memory; each track is a miniature chamber of horrors. –Judy Berman
Listen: Black Box Recorder: “Child Psychology”
32.
Manic Street Preachers: Everything Must Go (1996)
Speaking in a new UK TV documentary about the Manics’ career-defining fourth album, bassist and lyricist Nicky Wire doesn’t mince words: “I fucking hated Britpop.” Specifically, it was the patronizing depiction of the working classes by the likes of Blur that most galled Wire. It prompted the dignified rejoinder of “A Design for Life,” an anthem that breathed hope into a band otherwise poleaxed by grief after the 1995 disappearance/presumed death of Wire’s best friend, guitarist Richey Edwards.
With Everything Must Go, the Manics turned that grief into mourning glory, a sneaky blend of commercial power-pop hiding lethal lyrical cluster-bombs about the suicidal photojournalist “Kevin Carter,” the Alzheimer’s-debilitated artist Willem de Kooning (“Interiors”), and the unbearable suffering of animals in captivity (“Small Black Flowers That Grow in the Sky,” one of several posthumous Edwards lyrics on the album). Released into Britpop’s mainstream critical mass, the album went triple platinum, elevating the Welsh “culture sluts” to the UK arena circuit to peddle their sweet pain to tens of thousands. A vindication for the remaining trio, yet in Richey’s phantom presence, Everything Must Go remains a four-man masterpiece. –Simon Goddard
Listen: Manic Street Preachers: “A Design for Life”
31.
Saint Etienne: Foxbase Alpha (1991)
An album whose biggest hit transposes a Neil Young song into dub reggae (“Only Love Can Break Your Heart”) couldn’t be accused of parochialism. Still, despite its breadth of reference, Saint Etienne’s collage-like debut reads overwhelmingly as a love letter to the capital, rebooting the myth of Swinging London for the sample-happy 1990s. Bob Stanley and Pete Wiggs, two pop obsessives from suburban Croydon, were new to both the city and music-making, so Foxbase Alpha (named after an imaginary idyll they joked about as teenagers) has the quality of a dream taking shape, with singer Sarah Cracknell their new best friend and airy muse. “Girl VII” renders stops on the city’s tube network as glamorous as São Paolo and Valencia, while “London Belongs to Me” depicts Camden, soon to become Britpop’s grimy hub, as a hazy utopia where summer and youth are eternal. –Dorian Lynskey
Listen: Saint Etienne:“Only Love Can Break Your Heart”
30.
Suede: Sci-Fi Lullabies (1997)
Put two Britpop fans of a certain age together and the conversation will turn quickly to CD singles. Often released in multiple versions to juice the lead track’s UK chart position, the CD single was a taxing format for artists, now on the hook for producing essentially twice as many B-sides. For some, that meant commissioning extra remixes or live tracks. But a few 1990s artists, including Suede, took cues from 1980s favorites like the Smiths and the Jam, treating B-sides with the same quality control as any other release.
Suede managed to keep up both the pace and high bar of their B-sides over the first half-decade of their career, as evidenced by Sci-Fi Lullabies. At 27 tracks, it’s nearly the output of their three studio albums released over the same time period, and an exquisite set of aching, melancholy ballads (“The Big Time,” “High Rising") and sure-footed midtempo tracks (“To the Birds,” "My Insatiable One”). Overflowing with focused ideas, these tracks are neither the discard pile nor experiments or detours. The bassist doesn’t get to sing lead. There’s no drum-’n’-bass track. It’s just Suede doing Suede things— widescreen drama, kitchen-sink glamour—while carrying the torch of the great British single. –Scott Plagenhoef
Listen: Suede: “My Insatiable One”
29.
The Charlatans: Tellin’ Stories (1997)
One of Britpop’s greatest triumphs, born from one of its greatest tragedies. In 1995, when their eponymous fourth album entered the UK charts at No. 1, the Charlatans proved themselves the tortoise to the Stone Roses’ hare as the last men standing of early-1990s Madchester. In the summer of ‘96, they began its follow-up in giddy spirits, nailing the Top 10 bangers “One to Another,” “North Country Boy,” and “How High” in a single session. Then, three weeks before they were due to play their biggest show yet, supporting Oasis at Knebworth, keyboard player Rob Collins was killed while racing his car from a pub to the studio.
The intended victory lap, Tellin’ Stories, instead became Collins’ wake, lacquering the album and its emotive title track in particular with a poignancy otherwise at odds with the prevailing euphoria. Completed with Primal Scream’s Martin Duffy filling in the gaps, Collins was respectfully given the last word with the closing instrumental, “Rob’s Theme.” That this remains the Charlatans’ biggest-selling and best-loved album is tribute enough to him. –Simon Goddard
Listen: The Charlatans: “Tellin' Stories”
28.
Morrissey: Vauxhall and I (1994)
Once upon a stage in 1992, Morrissey draped himself in the Union Jack, a flag long sequestered by far-right nutjobs, prompting many an irate liberal to speculate on whether the former Smith harbored imminent plans to invade Poland. Dodging these slings and arrows, he instead retreated to a haunted manor studio in Oxfordshire, cocooned in Brighton Rock, Oliver Twist, and a 1950s documentary on Lambeth scamps, subsisting on an alleged diet of “pea parcels.” When he re-emerged in 1994, it was with his fourth—and, to date, best—solo album.
Vauxhall and I is Morrissey’s “My Way”: wistful (“Now My Heart Is Full,” “Hold On to Your Friends”), touchingly thin-skinned (“I Am Hated for Loving”), and aggressively unapologetic (the chainsaw-revving “Speedway”). But above all else, it’s a musically elegant, lyrically eloquent defense plea that tells his detractors to kindly sod off. The public concurred, returning Morrissey to the UK No. 1 spot just as Britpop boomed and, before anyone had the chance to offer him an overdue “Sorry, Steven,” the Union Jack was suddenly everywhere, from Noel’s guitar to Ginger’s cleavage. Alas, with typically ill Morrissey fortune, all too soon he was writing rotten songs about window cleaners and being ritually crucified by the press once more. As you were, Britannia. –Simon Goddard
Listen: Morrissey: “Speedway”
27.
Super Furry Animals: Fuzzy Logic (1996)
Like their Welsh peers the Manic Street Preachers, Super Furry Animals hated Britpop’s parochialism. Nevertheless, as Creation labelmates of Oasis, they were welcomed to the mid-’90s party, mischievously spiking the drinks with their psychedelic punk-pop. In Gruff Rhys, they boasted a singer equal parts Syd Barrett and Noggin the Nog, the perfect mouthpiece for a debut comprised of songs about UFO abductees (“Hometown Unicorn”), guitarist Huw Bunford’s hamster (“Fuzzy Birds”), George Foreman (“Something for the Weekend”) and “Hangin’ With Howard Marks,” an ode to the Welsh cannabis smuggler as featured on the album sleeve. A bit like a “Sgt Pepper’s Homely Welsh Punk Band,” Fuzzy Logic is bong-smoke bonkers but also beautiful—not least during “If You Don’t Want Me to Destroy You,” its eco-friendly fourth single, for which Creation granted them a £2000 promotional budget. Being Celtic space cadets, they naturally opted to blow the lot on a tank, paint it blue, and turn it into a mobile techno sound system. With fittingly fuzzy logic, they’d later sell the tank to Don Henley of the Eagles. –Simon Goddard
Listen: Super Furry Animals: “If You Don’t Want Me to Destroy You”
26.
The Verve: A Northern Soul (1995)
The Verve’s second album is a transitional work between the zonked-out psychedelia of 1993’s A Storm in Heaven and the epic balladry of the band’s most commercially successful LP, 1997’s Urban Hymns. That’s not a dig—if anything, A Northern Soul is a happy medium for the Verve, showcasing the band’s rocking and emotive sides with equal fervor.
On one hand, A Northern Soul refines the guitar freakouts from the group’s debut, with songs like “A New Decade” and the title track embracing a spacey grandeur more akin to Pink Floyd than the punchiness of Britpop. This aspect of the Verve always put them out of step with their contemporaries, which might explain why they came to rely upon sweeping anthems by the time of Urban Hymns. On A Northern Soul, the Verve honed their formula on the luminous love song “On Your Own” and the breathtaking chamber ballad “History”—just in time to deploy “Bitter Sweet Symphony” a few years later. –Steven Hyden
Listen: The Verve: “History”
25.
Hefner: Breaking God’s Heart (1998)
As the 1990s petered out and Britpop increasingly became the sound of post-Oasis knuckle-draggers, Hefner hit reset and helped carve out a corner of UK guitar music more indebted to its indie, shaggy-dog roots. Embraced by UK radio god John Peel while their contemporaries were appearing on Jools Holland’s mainstream TV show, Hefner were proud outsiders, spinning bedsit tales of librarians and the boys with nail-bitten fingers who wooed them.
Hefner’s style was ramshackle throughout—veering from jangly, nervy uptempo guitar pop à la Violent Femmes to patient, loose balladry—and it’s Darren Hayman’s lovelorn lyrics that unite. On the band’s debut album, Breaking God’s Heart, Hayman examines the social and emotional equity of love and lust from every angle, cataloging seemingly quotidian sexual encounters for those who don’t actually experience them with regularity. Crucially, Hayman doesn’t slide into fantasy or role-playing the way geek-chic hero Jarvis Cocker did so effectively in Pulp. Instead, Hayman remains squarely in the common people camp, weighing the relative values of sex and romance, human connection, and heartache for people who have nothing else to do but dance and drink and screw. –Scott Plagenhoef
Listen: Hefner: “The Sweetness Lies Within”
24.
Supergrass: In It for the Money (1997)
The video for Supergrass’ “Late in the Day” begins in stark black-and-white with frontman Gaz Coombes strumming away on an acoustic guitar, smoke trailing up from an ashtray on the arm of a lonely couch. It’s all very art-house, very serious-singer-songwriter—very reminiscent of the “Wonderwall” video. But then a pogo stick is thrown into Coombes’ hands and the trio head out into the streets, bopping through rain and over a car, showing off some neat one-legged stunts along the way. The clip is a winking fake-out from the Oxford group’s second album that highlights the most crucial part of their character: fun. Even when Coombes is singing about missing his girlfriend on tour or the treacherousness of burgeoning stardom, there’s always a Memphis horn blast, a McCartney-cute organ solo, a Townshend-whirling power chord, or a slinked-out Stones groove to keep things light, quick, and urgent. It’s only rock‘n’roll, and Supergrass never let you forget it. –Ryan Dombal
Listen: Supergrass: “Late in the Day”
23.
Kenickie: At the Club (1997)
Within Britpop’s tacky class-war narrative, few bands took the high ground. “Blur vs. Oasis” was the lightning rod, but the era was aflood with performative stereotype fulfillment, enabling the media to paint an uncouth proletariat at war with the arty middle class. Kenickie were one group to fashion an antidote. Like Pulp, the Sunderland four-piece spoke to a working class for whom glamorizing bleak Britannia was not a matter of sport but survival. Their synth-dappled guitar-pop was deceptively vulnerable, a strange cocktail of elation and deflation; amid tributes to boozy weekend bacchanals were reflections on women’s desires and anxieties. Their songwriting sketched an alternative to girl power’s individualist rush: Instead of assuming an audience with the tools to empower itself, Kenickie showed hedonism to be a release valve, something fought for and snatched from the daily grind on scrappy nights out. A proper breakout hit never materialized, and their refusal to capitulate to the Britpop era’s narrowing definition of counterculture might be why. In the eyes of their sizeable cult, it’s also the key to their immortality. –Jazz Monroe
Listen: Kenickie: “Acetone”
22.
Saint Etienne: So Tough (1993)
On So Tough, Saint Etienne conjure an ideal London, a place strung together with snippets of British movies and journalistic chatter, full of collective possibility. The opener “Mario’s Cafe” might be pop’s most blissful song about the buzz of simply hanging out with people you like, and the jaunty single “You’re in a Bad Way” is a comforting arm around a mournful shoulder. That track’s bubblegum sound reaches backwards, but So Tough is mostly a modernist, outward-looking record—where pop, dub, and house jams mingle with ballads you might find in the world-weary songbooks of European crooners. The latter work particularly well: The regal sweep of So Tough's most ambitious song, “Avenue,” and the poised sorrow of its finest one, “Hobart Paving,” showcase Sarah Cracknell’s pristine voice against their plush arrangements. Saint Etienne were part of a friendly assortment of imaginative groups, a proto-Britpop scene that also included Denim and the Auteurs; by the time it had hardened into the real thing, they felt alienated. So Tough stands as a snapshot of the Britpop that almost was: more cosmopolitan, more comfortable with the rest of the 1990s, and considerably more chic. –Tom Ewing
Listen: Saint Etienne: “Hobart Paving”
21.
Gene: Olympian (1995)
Many Britpop bands looked back to the 1960s, but Gene were different: The Smiths were their ground zero. If seen from a certain angle, they could be perceived as a parody act. Sonic allusions run rampant on their debut, Olympian—Martin Rossiter sighs like Morrissey, “Haunted by You” opens with a ringing inversion of “This Charming Man”—but Gene also followed the Smiths’ blueprint more subtly, taking stills of films for their cover art and releasing their own Hatful of Hollow grab-bag of B-sides and live cuts the year after Olympian. All these Mancunian affectations from a group of Londoners are endearing because they're not calculating; this is a band that felt the love so deeply, it infused every portion of their music.
Olympian functioned as a slightly melancholic tonic to the arrogance sweeping Britpop during the spring of 1995. Certainly, Rossiter and his mates also had self-confidence—and they were tougher than the Smiths, showing some measure of debt to Suede’s gnarly glam noise revival—but the tenor of Olympian is strikingly different than, say, Definitely Maybe. If Oasis wanted to get out of that dirty bedroom, Gene was happy to dwell within it, wish the world would slow down, and wallow within their dashed dreams. –Stephen Thomas Erlewine
Listen: Gene: “Haunted By You”
20.
The Auteurs: New Wave (1993)
Although Luke Haines would probably hate you for saying it, the Auteurs were very much the thinking person’s Britpop act, a band whose songs spoke of failure, faded glamour, and the intellectual seediness of bedsit life rather than living forever and very big houses in the country. A strangely wistful yet venomous tone pervades the Auteurs’ debut album, New Wave, as if Haines doesn’t know whether to seduce his listeners or punch them in the mouths. The 12 songs are defiant and melancholy, Haines’ hungover croon draping over lovelorn guitar lines, simple percussion, and sporadic piano, offset at times by the addition of a cello. It’s sparse yet effective, with the Beatles and the Go-Betweens as clear touchpoints. Later, Haines revealed Nirvana’s influence, too—and if you squint a little, songs like “Bailed Out” and “Junk Shop Clothes” are not so many miles from the quiet emotional intensity of their “MTV Unplugged,” although Kurt Cobain would never write lyrics as deflating and witty as Haines’ scorching put-downs. –Ben Cardew
Listen: The Auteurs: “Junk Shop Clothes”
19.
Lush: Lovelife (1996)
With their third full-length album, the 4AD dreamers Lush dropped out of the shoegaze cocoon and hit the ground running. The reinvention succeeded, partly because the pivot to Anglocentric guitar pop was performed with the conviction of born extroverts. Their chatty early single “Ladykillers” gleefully savages hapless suitors’ pick-up games: A preening ladies’ man, a peacocking male feminist, and “school of charm” connoisseurs everywhere wither under Miki Berenyi’s been-there-done-that snarl. The subtext of songs like “Ciao!”—in which Jarvis Cocker spars suavely with Berenyi in a game of post-breakup oneupmanship—was that Lush were dealing Britpop the feminist counterpoint it sorely needed. The message prevailed in part because they didn’t reject the escapist thrills of sex and booze (this was, after all, the 1990s) but instead delivered righteous barbs with the joyful arrogance of snarky pub chat between mates. –Jazz Monroe
Listen: Lush: “Ladykillers”
18.
Blur: Modern Life Is Rubbish (1993)
Blur were most definitely “holding on for tomorrow” while putting together their second album. Their debut, 1991’s Leisure, left them on the wrong side of the dwindling Madchester trend, while mismanagement meant they ended up in the financial hole. They hit the States for a long, drunken tour in 1992, looking to settle their debts, but came back disenfranchised with the growing American influence on British culture (shameless capitalism chief among it). Damon Albarn and co. took it upon themselves to remind the UK of its roots, looking to classically British songwriters like Ray Davies, David Bowie, and Paul Weller while crafting the rock‘n’roll jangle that set the tone for Britpop.
In his songs, mostly set around London, Albarn walks a fine line between completely jaded and vaguely hopeful, with no tune capturing this feeling better than lead single “For Tomorrow.” Albarn wrote the song on Christmas Day after Blur’s label demanded a hit, not seeing yet that they had tapped into the next big thing by topping retro English rock with the cynicism that would come to define Gen-X. Atop elegant strings, Graham Coxon’s rough-edged guitar riffs, and a patchwork of vocal harmonies, the then-25-year-old Albarn shares what he knows about the world: It kind of sucks, but what’s the alternative besides moving forward? Needless to say, things got a bit better for Blur from there. –Jillian Mapes
Listen: Blur: “For Tomorrow”
17.
Shampoo: We Are Shampoo (1994)
On their exhilaratingly bratty first album, Shampoo fused Britpop, teen pop, and riot grrrl—and the association horrified feminist punks, who dismissed them as a patriarchal product. It wasn’t an entirely fair criticism. Teenage best friends Jacqui Blake and Carrie Askew might’ve projected calculated vapidity in interviews (Melody Maker introduced them as “two alien teen snitches/queen bitches from Planet Peroxide”), but the duo didn’t meet in a boardroom. As the designated weirdos of their suburban high school, they’d co-authored a Manic Street Preachers fanzine before forming a band of their own.
We Are Shampoo contains precisely the kind of music you’d expect from teen girls who bonded over dissident rock. Layering sugary hooks atop cartoonish AC/DC riffs, they ethered “saddo” dudes, gamers, and the “dirty old love songs” of Whitney and Mariah. Their anti-manifesto “Viva La Megababes” taunted rivals, “Hippie chicks are sad, and supermodels suck/Riot grrrls, diet girls, who really gives a fuck?” Not even their shouty juvenile delinquency jam “Trouble,” a hit in the UK, could bring them stateside stardom, despite placement on such youth-friendly movie soundtracks as Mighty Morphin Power Rangers and Foxfire. But it didn’t take long for their influence to go global in the form of another British act whose suspiciously familiar brand of impish pop feminism really was a corporate invention. –Judy Berman
Listen: Shampoo: “Viva La Megababes”
16.
Morrissey: Your Arsenal (1992)
By 1992, the blouse-wearing, flower-wielding Morrissey had beefed up both his look and sound. Newfound collaborators Alain Whyte and Boz Boorer came from the rockabilly scene; with cigarettes rolled firmly in sleeve, they brought a swagger that had eluded the ex-Smiths frontman’s previous solo releases, the mercurial Viva Hate and the dismal Kill Uncle. Bowie’s most valuable Spider From Mars, Mick Ronson, helmed production duties, bringing a powerful glam stomp. For the first time in half a decade, Moz had an unstoppable team and unstoppable songs.
Your Arsenal found Morrissey throwing two fingers to his haters, lamenting assorted personal and societal failings, and dissecting the newly post-Thatcher working class identity with gusto. He vacillated between condemnation and an uncharacteristic cautious optimism as his band matched him mood-for-mood, tough as a Millwall brick one moment and then heartbreakingly tender the next. And as he examined English identity via the common people and embraced his fellow drowners in a sea of swimmers, some might say that Morrissey handed the blueprints of Britpop to the next generation. –Elia Einhorn
Listen: Morrissey: “Tomorrow”
15.
Cornershop: When I Was Born for the 7th Time (1997)
Part of the fun of the Britpop years was seeing bands rocket from the most obscure crannies of indie to the top of the charts. That one of them was Cornershop, riot grrrl allies who found initial fame by burning a picture of Morrissey outside his label HQ, still seems like a pinch-yourself moment.
Cornershop’s third album, When I Was Born for the 7th Time, shows they deserved their fabulously unlikely slice of stardom. It’s the most affable of records, a loose collection of indie-funk jams with vocalist and songwriter Tjinder Singh threading deadpan wisdom between the beats. Scratch the easygoing surface and there’s invention at every turn, from “Funky Days Are Back Again”’s frazzled electro backing to Singh playing the heel on “Good to Be on the Road Back Home Again,” an oddball country duet with Tarnation’s Paula Frazer. But the record’s heart is its hard-won positivity, especially on “Brimful of Asha,” their cult hit turned real one. That song takes the DNA of Britpop—fuzzy memories alchemized into pop gold—and rewrites it for a British-Indian boyhood, with references to playback singers Asha Bhosle and Lata Mangheskar, All-India Radio, and the UK reggae label Trojan Records. The Britpop party never felt more inclusive, or more joyous. –Tom Ewing
Listen: Cornershop: “Brimful of Asha”
14.
The La’s: The La’s (1990)
The La’s’ eponymous debut and only album was several years ahead of the Britpop curve, arriving in the time of Madchester and raves. As such, The La’s serves as a bridge between the two eras. The songs are pure Beatles melodicism—you can almost see the Fab Four tapping out the opening number, “Son of a Gun,” during a relaxed moment in A Hard Day’s Night—mixed with the Kinks’ guitar riffs, notably on “I Can’t Sleep” and “Feelin’.” Oasis would later employ this combination to considerable commercial return.
However, as with the Stone Roses’ debut, there was something in the simple, hazy euphoria of songs like “There She Goes” and “Timeless Melody” that connected with the blissful possibility of the rave era, making the La’s both perfectly of the time and prescient of what was to come in British guitar music. Sadly, they wouldn’t be around to pick up the Britpop spoils, dissolving in a fit of frustrated perfectionism soon after, but the succinct pop mastery of their debut meant they were never far from Noel Gallagher’s thoughts as his band took Britpop to the world. –Ben Cardew
Listen: The La’s: “There She Goes”
13.
Suede: Suede (1993)
Suede’s arrival was a glass of cold water to the face of British guitar music. It wasn’t just that they were so radically different from everything else at the time—a riot of ripped cardigans, Bowie guitars, and fluid sexuality in a world of shoegazers—but they also came perfectly formed, spat defiant and blinking into the world. Suede found them full of swagger, filth, and an innate sense of drama, from the knowing squalor of “Animal Lover” to the airy desperation of “Sleeping Pills,” from the peacock pop strut of “Animal Nitrate” to the divine disgust of “Pantomime Horse.” Suede would later get weirder (Dog Man Star) and more overtly accessible (Coming Up), but their debut was the record that had it all, a dazzling mixture of pop smarts, experimental nous, and wickedly original thinking. Without Suede, Britpop would have been a far safer, easier, and more vapid proposition. –Ben Cardew
Listen: Suede: “Animal Lover”
12.
Supergrass: I Should Coco (1995)
In Britain, the phrase “I should Coco” is a sarcastic way of saying you agree with someone, but there was nothing to be petulant about when Supergrass emerged with this debut. Even today, you're hit by the shambolic, fat-free introduction to a trio who brought a punk edge to Britpop, taking their forebears (the Kinks, the Jam, Buzzcocks) and imposing three-chord hard noise while also glorifying how it felt to be young, liberated, and reckless. A few months later, when Oasis released their time-shifting (What’s the Story) Morning Glory?, they already looked positively past it.
The tracks’ guileless energy reflects their speed of recording, too. Most impressive of all is the fact that the six-minute, sprawling organ epic “Sofa (Of My Lethargy)” was done in just one take. The adolescent call-to-arms “Alright” was featured in Clueless and has become an insufficient tentpole for the Oxford band, who were drowning in far more eclectic ideas. From the acoustic dreaminess of “Time to Go” and the lightning-speed thrill of “Sitting Up Straight” to the Madness-like “Mansize Rooster” and the fantastical glam rock of “Strange Ones,” these three scamps painted pictures of life’s everyday mishaps and oddities while keeping listeners darting about on their toes. –Eve Barlow
Listen: Supergrass: “Sofa (Of My Lethargy)”
11.
Pulp: His ‘N’ Hers (1994)
Jarvis Cocker was not meant to hold a guitar. To prowl the stage like an electrified stork, to rumble about tawdry sex artifacts like lipgloss and tight pink gloves and gleefully chronicle our animalistic impulses—he needed both hands free for that. Today, to watch Pulp’s set at Glastonbury 1994—an inauspicious midday slot, just one year before their conquering headlining gig—it feels quaint to see the Sheffield singer grip some wood and pick strings through the glorious “Babies,” stock-still save an emphatic kick or two. (Defying nature, he did reprise this during the reunion tour.)
By His ‘N’ Hers, Pulp had already been toiling for almost 20 years and three albums, with little to show for it, but they carried themselves in the studio like arena stars. Their thrillingly contradictory formula was honed: sexy and heady yet considered, shiny and singalong yet too clever to be cheap, with Cocker’s pleasantly barbed pathos anchoring tonic synth-pop. The dancefloor anthems (“Lipgloss,” “Razzamatazz,” “Do You Remember the First Time?”) were as bittersweet as the seeping mood studies (“Acrylic Afternoons,” “David’s Last Summer”) and then they capped it by lifting the chord progression of “I Will Survive” wholesale on “She’s a Lady.” Why not? They’d come this far. –Stacey Anderson
Listen: Pulp: “Babies”
10.
The Verve: Urban Hymns (1997)
There are many albums on this list that speak to Britpop’s capacity for mordant wit, incisive social critique, and nuanced emotions. And then there’s Urban Hymns: pomp and circumstance personified, Be Here Now with a messianic complex instead of a coke habit. It begins with an orchestral sample that has cost the Verve millions, and the first lyric is Richard Ashcroft telling us the meaning of life. It doesn’t get any less modest going forward, but it would be the last time Ashcroft could back up his unwavering, deadly serious belief in his own profundity.
And Urban Hymns is something to behold: The power ballads (“The Drugs Don’t Work,” “Lucky Man”) would get laughed out of a folk-rock open mic if Ashcroft didn’t perform them like the most important love songs ever written, while generational anthems “Catching the Butterfly” and “The Rolling People” are utter nonsense elevated to the sublime thanks to his mojo-risin’ shamanism and Nick McCabe’s wah-wah pedals. Four years later, Bono would supply U2’s pull quote for a decade by claiming that they were “reapplying for the job of best band in the world,” but framing such a thing as an application process should’ve automatically disqualified them. As far as Urban Hymns was concerned, the Verve were the only band in the world. –Ian Cohen
Listen: The Verve: “The Drugs Don't Work”
9.
Oasis: Definitely Maybe (1994)
“Tonight I’m a rock‘n’roll star,” Liam Gallagher proclaims at the start of Oasis’ debut. Taken out of context, it’s easy to mistake this chorus as another example of braggadocio from Britpop’s brashest band—particularly given the anti-stadium-hero ethos of the era. But the verses of “Rock N’ Roll Star” tell a different story, reflecting Oasis’ modest circumstances when they made Definitely Maybe. Before Oasis were arrogant, they were aspirational: Throughout the album, Noel Gallagher writes about a dead-end, working class life from which there is no escape, save for fantasies of fame and fortune. In that same song, in a cutting whine pitched at the midpoint of John Lennon and Johnny Rotten, Liam Gallagher sings Definitely Maybe’s truest line: “In my mind/My dreams are real.” It was up to Oasis to make those dreams real.
Definitely Maybe became a generation-defining classic in the UK (and a beloved cult favorite among Anglophiles overseas) based on Noel Gallagher’s effortless ability to write rock anthems with simple, universal themes: the invincibility of youth (“Live Forever”), the undying allure of decadence (“Cigarettes & Alcohol”), and the desire for self-actualization (“Supersonic,” which is also about snorting Alka-Seltzer). Damon Albarn and Jarvis Cocker were wittier, perhaps, but Noel Gallagher spoke in a more primal language. His dreams were also the dreams of millions. –Steven Hyden
Listen: Oasis: “Supersonic”
8.
Blur: Blur (1997)
Before their self-titled album, Blur were brilliant in a way that was also a little hard to look at—for American audiences, anyway, who preferred a slouch or an untucked shirt corner somewhere. But that all changed when Blur hit American shores in 1997, pulling its hair over its eyes and frowning theatrically. It was an audacious bid to reinvent the band as across-the-pond visitors to the then-exploding American indie rock scene, and it is also a gloriously confusing, fractured jumble, more a major-label mixtape than an album.
After the relatively conventional “Beetlebum,” Blur proceeds through a series of cartoon trapdoors, reeling from faux-grunge (“Song 2”) to faux-glam (“M.O.R.”) to ersatz Sebadoh tributes (“You’re So Great”) to high Noel Coward camp (“Death of a Party”). For Americans and Brits alike, the album was both perplexing and fascinating, like watching a movie through a Vaseline-smeared lens and being unable to tell if the actors are laughing or screaming. Blur’s relationship to American alt-rock—mocking it with “Song 2” while simultaneously scoring a bona fide hit—was also their relationship to success, as they scoffed at it and held it at arm’s length while zealously pursuing it. If you are truly going to be the smartest kids in the classroom, it’s not enough to scorn the test—you still have to ace it. –Jayson Greene
Listen: Blur: “Song 2”
7.
Pulp: This Is Hardcore (1998)
Britpop often benefited square-peg acts, whose years of woodshedding gave them a golden opportunity when the mainstream’s round hole was busted open. By late 1995, a Ben Sherman shirt and mod bangs were pretty much all it took. But Pulp were something else. They’d formed in 1978, when the wide lapels and nylon that Jarvis Cocker took into every student union in Britain weren’t ironic, they were standard issue. If it took about 17 years for those planets to align, it only took three to repudiate everything that Pulp and Britpop had apparently stood for.
This Is Hardcore’s first single, “Help the Aged,” said it all—a dour celebration of decay that explodes into its chorus like overripe fruit. The band that had typified blind hope in the face of abject failure had seemingly, in success, found only defeat. That the sumptuous art rock of “This Is Hardcore” and “Dishes” were among Pulp’s best songs—as typically dyspeptic as anything on OK Computer, informed by Cocker’s disillusionment—was besides the point. This Is Hardcore told the faithful that the jig was up. In the bleak Bowie stomp of “Party Hard,” Cocker perfectly undermines Pulp’s cynical raison d’être: “If you didn't come to party, then why did you come here?” –Laura Snapes
Listen: Pulp: “Help the Aged”
6.
Elastica: Elastica (1995)
If Britpop’s essence was gleeful, irreverent insouciance in the face of dour American grunge, then Elastica were the Britpoppiest band of them all. Led by the impossibly fierce Justine Frischmann, this black-clad gang of three birds and one bloke banged out smart, deliciously catchy pop-punk songs about stuff like erectile dysfunction, car sex, and, um, lubrication. They shamelessly shoplifted riffs from Wire and the Stranglers, but turned them into tunes that were a thousand times more fun. Their debut album was 15 songs (plus one bonus track) in 40 minutes without an ounce of fat. They were the kind of band that makes people want to be in bands.
Frischmann was a Zelig-like figure in Britpop: A founding member of Suede and romantic partner to the frontman Brett Anderson, she left him for Damon Albarn, forming Cool Britannia’s First Couple. (At the peak of their powers, Elastica were far more successful in America than Blur.) Unfortunately, Frischmann’s relationship with Albarn, as well as with the other members of her band, imploded in “Behind the Music”-style fashion in the late 1990s, and Elastica’s 2000 sophomore album, The Menace, was met with indifference. But for a brief, shining moment, Elastica were the coolest band in Britain. –Amy Phillips
Listen: Elastica: “Connection”
5.
Suede: Dog Man Star (1994)
Suede’s Brett Anderson was Britpop’s first pin-up, baring his midriff and pouting coyly on the cover of Select’s April 1993 “Yanks Go Home!” issue—an anti-grunge salvo that championed the “crimplene, glamour, wit, and irony” of five young British bands. Just a year later, sinking into druggy oblivion and feuding with guitarist and co-songwriter Bernard Butler, Anderson grew alienated from the movement. Dog Man Star was the product of that isolation, a murky, maximalist symphony that overlaid the sex-drenched, council-estate sadscapes of Suede’s debut with visions of Old Hollywood glamour, as glimpsed from a distance of four decades and 5,500 miles. Still unfinished when Butler left the band, it was also a breakup album of sorts, its soaring arrangements battling melodramatic lyrics in an echo of the discord between its creators.
The standard criticism of Dog Man Star is that it’s too melodramatic to take seriously. Certainly, it has preposterous moments: the self-serious fairy tale “Black or Blue,” the swaggering condescension of “This Hollywood Life.” But excess was kind of the point with Suede, and this album captured their aesthetic at its most immersive. Black-and-white films haunt 1990s England on “Daddy’s Speeding,” about James Dean, and the hyper-romantic “The Wild Ones.” By the time the credits roll on “Still Life,” a Douglas Sirk weepy punctuated by hysterical strings, Suede have so persuasively sanctified everyday longing that even their overreaches sound purposeful. –Judy Berman
Listen: Suede: “The Wild Ones”
4.
Oasis: (What’s the Story) Morning Glory? (1995)
This was the people’s champ, the album that broadcast Britpop’s loving nostalgia, brash guitar worship, and rampant tunefulness further than any other. Admittedly, it is not the era’s smartest record, nor is it the coolest. But who needs smart or cool when you have Liam Gallagher sneering through a rock‘n’roll fantasyland bursting with wonderwalls, champagne supernovas, and enough maxed-out distortion to deserve a tinnitus warning? Who needs subtlety when you can listen to a man rhyme “say” and “day” over and over (and over) and make it sound like a bloody revolution?
But while (What’s the Story) Morning Glory? happily blares from the mountaintops, it also can’t help but glance at the abyss below. For all his arrogance, Noel Gallagher can be a surprisingly reflective songwriter, aware of the pitfalls of fame and drugs while simultaneously aiming for the top of the pops and hoovering cocaine. “Wonderwall” is an all-time ballad about being hesitant and inarticulate; the title track, with its helicopter chops and five-alarm riff, both actualizes and takes the piss out of coke-fueled mania. And “Champagne Supernova” serves as an excessive Britpop pinnacle as well as a eulogy for good times that can’t last. “Where were you while we were getting high?” Liam repeats endlessly at the end of the song, stretching out the memory as far as it could ever go. –Ryan Dombal
Listen: Oasis: “Champagne Supernova”
3.
Radiohead: The Bends (1995)
Radiohead were never a Britpop band, but on The Bends, they became the vent through which its subconscious fumed. As optimism swirled around Tony Blair’s ascent and the resurgent economy, 1995 saw Britpop fever erupt into a Dionysian free-for-all, with boozy shenanigans dominating tabloid headlines. To that, these Oxford oddballs issued their second album, a doomed cry from the party’s cellar. As they echoed Britpop’s disdain toward unchecked wealth, the pop-oriented album also undermined the movement, suspicious of both hedonism and Blair’s New Labour (which minted the left’s new pact with neoliberalism).
The Bends’ title track—with its histrionic cries of “I wanna be part of the human race!”—mopes in the mid-’90s zeitgeist’s shadow, mooring Britpop’s social theatricality in grunge’s grandiose alienation. That song, with its jibes at Radiohead’s ’60s-worshipping peers, rubs shoulders with radio-friendly ballads (see “High and Dry” and its tetchier sibling, “Fake Plastic Trees”) that anticipated the airbrushed post-Britpop rock of Coldplay and Travis. But the record’s integrity to the Britpop years lies in the way it challenged a jaded generation’s imagination. The unlikely breakout single was “Street Spirit (Fade Out),” which channels a sense of capitalist dread that even class-conscious Britpop artists repressed. And while the album found Radiohead in the jaws of a decade they hadn’t yet learned to outmaneuver, its epic portrayal of drift and disenchantment secures its reluctant spot in Britpop’s pantheon. –Jazz Monroe
Listen: Radiohead: “Street Spirit (Fade Out)”
2.
Blur: Parklife (1994)
Britpop moved indie guitar music from the UK’s margins to the mainstream with remarkable speed. Parklife was the catalyst—a colorful, pop-centric palette of great scope and eclecticism, effectively launched with a disco song (“Girls & Boys”). Subsequent singles were an elegant French-kissed breakup song (“To the End”), the anthemic title track, and a hand-wringing over encroaching age and domesticity (“End of a Century”). Blur had hinted at such depth and variety, but Parklife found them with new ambition and confidence. Even the record’s understated gems (“This Is a Low,” “Badhead,” “Clover Over Dover”) carry a lived-in sense of belief miles away from the group’s baggy roots.
Blur had explored notions of Britishness on their previous album, Modern Life Is Rubbish, but they made it a thesis statement on Parklife, giving both a clear narrative and an all-important rooting factor to what would become Britpop. Synthesizing an emergent sense of national pride with youthful anger and a satirical eye, Blur built bridges from art schools and indie dances to the mainstream, in much the same way Nirvana’s Nevermind did for punk-rooted music a few years earlier. Indeed, the death of Nirvana’s Kurt Cobain, just weeks before the release of Parklife, underlined the feeling that the epicenter of credible guitar music was shifting from the U.S. to the UK.
In the short term, Britpop was a Parklife-built world, and it provided paths to the charts for such outsiders as Super Furry Animals, Pulp, and Elastica. By 1996, Oasis would become so commercially dominant that Britpop’s original sense of glamour, wit, and artifice were replaced by more conservative, lumpen impulses. The line at the time was that Blur won the Battle of Britpop but Oasis won the war. Twenty years later, it feels clear who, creatively, got the better of whom. –Scott Plagenhoef
Listen: Blur: “Girls and Boys”
1.
Pulp: Different Class (1995)
Britpop had a remarkable power to turn complex personalities into cartoons. Jarvis Cocker, more than most, conspired in his own caricature, perhaps reasoning that after several years of frustration and anonymity, he wasn’t going to take any chances. Take “Common People,” a song in which cute social comedy escalates into seething insecurity and omnidirectional rage. The radio edit snipped the most vicious lines, in which Cocker is a dog who will “tear your insides out,” while its brash, playful video reduced it to Carry On Class War. That’s Different Class’ Trojan horse strategy in a nutshell: Come for the fun, stay for the psychodrama.
Coming hard on the heels of His ‘N’ Hers, Different Class seized the moment with slavering jaws; “Common People” and a momentous Glastonbury performance duly fast-tracked Cocker to national treasure status. Camp and gangly in thrift-store chic, this uncommon pop star seemed to embody Britpop’s core narrative of the underdogs taking over without shedding his lifelong sense of unbelonging. Even when he’s a participant, he’s a voyeur at heart, stranded on the threshold of wherever he is. In his ambivalent rave memoir “Sorted for E’s & Wizz,” he’s the guy wondering why he’s not having as much fun as everyone else.
The central themes of Different Class are sex and class, both characterized by mess, discomfort, longing, and revenge. Panting and yelping, Cocker describes the emptiness of too many partners (“Underwear”), not enough (“Live Bed Show”), and unrequited lust for one in particular (“Disco 2000”). The songs about class identity tell a similar story. The hungry autodidact’s fantasies of transcending the brutal conformity of working-class Sheffield hit the wall with “Common People,” where the gilded Greek art student is the catalyst, not the subject; her crime is to remind him that he can’t leave it behind and, thus, to make him feel ashamed for wanting to. In “I Spy”—a torrid mind-meld of Serge Gainsbourg, “First We Take Manhattan,” and Mike Leigh’s Naked—the thwarted interloper becomes the vengeful seducer, despoiling the privileged milieu that enthralls and disgusts him. His different class is a class of one, and it gets lonely there.
With the sole exception of “Something Changed,” Different Class is never purely joyous, yet it sounds like a celebration throughout. Seasoned producer Chris Thomas (Sex Pistols, Roxy Music) conspired with the six band members to assimilate a lifetime of British pop, from glam-rock and torch songs to synth-pop and Two Tone, and render Pulp’s distinctive tawdry glamour huge and unstoppable. What’s more, Cocker has the knack, like a classic British sitcom, of making anguish hilarious.
Different Class thus epitomizes Britpop’s signature blend of surface jollity with undercurrents of anxiety, representing both the club and the bedsit, art school and “Top of the Pops,” community and isolation, the party and the comedown, victory and defeat, pleasure and the price of pleasure. It’s good because it throbs with the desire to transform and escape; it’s great because it knows what happens when you get what you think you wanted. –Dorian Lynskey
Listen: Pulp: “Common People”
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Genre Analysis – Brit Pop
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Brit Pop. What is it? Britpop (British Pop) is a subgenre of Alt-Rock and Pop Rock. A lot of people wouldn't classify Britpop as a genre, but more as a cultural movement which is also true. Like Grunge, it was a term created and used by the media to pigeon hole something but with culture aside. Britpop…
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Brit Pop. What is it?
Britpop (British Pop) is a subgenre of Alt-Rock and Pop Rock. A lot of people wouldn’t classify Britpop as a genre, but more as a cultural movement which is also true. Like Grunge, it was a term created and used by the media to pigeon hole something but with culture aside. Britpop like all genres does have its own unique characteristics and musical style that is different from other genres that have been seen before. Britpop takes elements from other popular music that was seen in Britain during the 60s and 70s and smashes it all together to create a new and a proved version of British rock. The genre heavily relies on the typical rock mould of 4×4 drum beats. But uses a lot of upbeat melodies and chord progressions to give it a happier feeling. Just like the Beatles used back in the early days of their career. The guitars are normally bright and overdriven giving us the typical rock sound you might have heard from The Kinks, The Who, T-Rex, and Slade. A lot of Britpop bands added elements of acoustic guitar to add clarity to the raw tones of the electric guitars. The drums are loud and proud giving the songs a thunderous hit. The vocals are the biggest and most important thing of Britpop. As you would guess it isn’t Britpop or less you sing with a British accent. The lyrical content was mostly about England, partying, being working class and most importantly sex, drugs and you guessed it rock & roll. (wiki,2016).
Britpop only really became a genre in the early 90s but Britpop’s roots come from Indie-Rock bands that were popular in the mid to late 80s. Bands like The Smiths, The Cure and The Happy Mondays. But the band that influenced a generation to go home play music and form a new genre that would take over England during the 90s was The Stone Roses. In 1989 The Stone Roses released their self- titled album which saw massive success. They even held for its time one of the biggest free gigs at Spike Island. Which the likes of Noel Gallagher and members of Blur attended before they even started bands. (2003)
Things were looking good for British music during the late 80s and early 90s. Indie-rock was at its peak and shoegaze was taking over. That was until grunge showed it ugly head and took over the world of music pushing shoegaze and even British music off the map. Which for a lot of young people living in England was an outrage. A lot of Bands stayed strong and with the help of local labels and magazines like NME, Creation Records, and Select. They tried to take back England and its rich musical culture. With this movement, we saw the rise of Brit pop thanks to Select Magazine releasing an issue which heavily featured British acts. On the front cover, it featured a picture of Brett Anderson singer/frontman of Suede a pioneering band of Britpop standing in front of a Union jack with the words “Yanks Go Home!!. After this we saw a rise in British bands who stood proud to be British and showed this within their music. Band like Pulp, The Stone Roses, Blur, Suede and Denim releasing albums during the early 90s featuring topics on English culture. This was mostly thanks to Blur who released their 1993 album titled “Morden Life is Rubbish” which was based on their fear of the US taking over Brtish culture with their fake music, Food, TV.
Below is a playlist of bands that set the way for BritPop:
But we didn’t see Britpop become a genre until a little band from Manchester released their debut album “Definitely Maybe” which took the music world by storm. It was the fastest-selling album in British history and made Oasis one of the founders of Britpop. At the same time, Blur released their album “Park Life” based on British culture and also had groundbreaking success in Britain. That same year we saw original Britpop bands like Pulp release their album “Different Class” which was also an album based on British culture and class. Because of these groundbreaking releases, British music was back in the world’s eye and started to push grunge back a few steps. A year later Britpop became huge in Europe, wave after wave of bands started to take the limelight and release albums which saw Britpop become King.
In 1995 Oasis released their biggest album yet which saw the world go crazy for Britpop. This album was “Morning Glory” which like their album first album become a number one album all over the world and saw Oasis great success. The album was fresh and different to their last and had a more hit than any other album released around that time. The Britpop genre got so out of control that the media started a battle between Oasis and Blur who also released their album ” The Great Escape” the same year as Oasis. Seeing a chart war to see who would be king of Britpop.
Below is a playlist of bands that become household names:
During the late 90s, Britpop started to get out of hand and became a huge culture fad, which was out of control. People started to choose sides and dress up like the bands they idolized. Like grunge, Britpop was about to crash and burn as well. A lot of bands started to break under pressure causing them to break up or hide from any media attention. Bands like Blur and Pulp got sick of the limelight and the whole Britpop culture. They decided to move on by making music that was a lot darker and featured elements of grunge, the genre they wanted to destroy. At the same time, Oasis released their album “Be Here Now” which failed quite badly in the charts and saw the break-up of Oasis. Like grunge, Britpop became so easy to recreate that labels wanted to fill the void of Oasis and Blur. That pop stars like Robbie Williams took their formula and made it into pop hits.
Below is a playlist of the aftermath of Britpop.
The characteristics of Britpop
Apart from songs that sing about being a youth in Britain and its culture, what else makes Britpop well Britpop. To do this I will break down the characteristics of the instruments in the genre. The song I will choose is From Oasis the band who were at the top of the British charts during the 90s.
The track is a straight forward song that has a simple 4×4 beat and typical songwriting method of intro/verse/chorus/verse/chorus/bridge/chorus. The track is also played in the B minor key set to a slow tempo of 127 Bpm.
Below is the layout of the song.
file:///C:/Users/Bec/Desktop/Roll%20with%20It%20(Remastered).html
The electric guitars have a really classic tone. It’s bright, thick and snarly. Because it’s got so much treble and low mids. It sounds like they are playing through a pumped Vox ac30 causing the signal to snarl. It has that perfect amount of gain and with little effects added. This kind of tone would have been used by bands back in the 70’s like T.Rex, The Kinks and Slade. A lot of Britpop bands used the same kind of guitar tone during the 90s. Your typical classic British tone, Gibson guitar pumped through a big Marshall or Vox amp turned up to 11. In the verses the acoustic guitar plays over the top to give the song a bit more life and clarity. The acoustic is pretty bass heavy and has a lot of mids added to given the guitar a full rounded sound. Acoustic versus where also a fairly big thing during the Britpop area.
The bass has a lot of low end compared to the rest of the guitars and also is fairly distorted and is fairly low in the mix as well. The drums are simple but have a powerful impact, the drums are really warm and heavily compressed. The kick has quite a thud to it, almost like a metal kick, where the rest of the kit has a fairly reverbed room sound. The snare is really snappy and cuts through the mix.
Even know Britpop died at the start of the 2000’s bands like Blur are still kicking and releasing music to this day. Even though Oasis is dead and gone their founding members Liam and Noel Gallagher are still making music and touring the world.
Below is a list of Britpop artist that are still kicking today.
References
Battasek, J (Producer), & Dower, J (Writer/Director) (2003). Live Forever – The Rise and Fall of Brit Pop [Motion Picture]. England: Passion Pictures.
BleadyEyeVEVO. (2013, November). Beady Eye – Soul Love. [Video File] Retrieved from https://www.youtube.com/watch?v=4dkIRa2z47Q&list=PL23RUtoUrDh_AoTmQIPI3h_zfaXF-PXnA&index=2
Blur. (2008, July 25). Blur – Beetle bum. [Video File] Retrieved from https://www.youtube.com/watch?v=WAXnqjUfal4&index=1&list=PL23RUtoUrDh-gmKyYbmBuou7rKAkH0sZB
Blur. (2015, February 19). Blur – Go Out. [Video File] Retrieved from https://www.youtube.com/watch?v=Sp1ks7PTzng&index=1&list=PL23RUtoUrDh_AoTmQIPI3h_zfaXF-PXnA
Blur. (2015, January 23). Blur – Parklife (HD). [Video File] Retrieved from https://www.youtube.com/watch?v=lITzhu8raBw&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj&index=5
Blur. (2015, January 23). Blur – She’s so high (HD). [Video File] Retrieved from https://www.youtube.com/watch?v=jl0nQdzZAg0
Blur Vs Oasis [Image]. (n.d.). Retrieved from http://www.melty.es/ian-somerhalder-y-nina-dobrev-algo-como-blur-vs-oasis-para-orgasmos-musicales-galerie-406545-2614441.html
Britpop. (2016). Retrieved from https://en.wikipedia.org/wiki/Britpop
Brit Pop. [Image]. (n.d.). Retrieved http://nadiezda.deviantart.com/art/Britpop-213375813
ElasticaVEVO. (2009, October 6). Elastica – Connection [Video File] Retrieved from https://www.youtube.com/watch?v=ilKcXIFi-Rc&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj&index=11
Emimusic. (2009, February 3). The Verve – Bitter Sweet Symphony [Video File] Retrieved from https://www.youtube.com/watch?v=1lyu1KKwC74&list=PLHNnl3GqQpxld4tXcheJvVr4t8zVCtlBe&index=40
Emimusic. (2009, March 3). RadioHead – Just [Video File] Retrieved from https://www.youtube.com/watch?v=-_qMagfZtv8&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj&index=12
Great Escape Album. [Image]. (2009.). Retrieved https://en.wikipedia.org/wiki/The_Great_Escape_(Blur_album)
IanBrownVEVO. (2012, January 17). Ian Brown – F.E.A.R. [Video File] Retrieved from https://www.youtube.com/watch?v=8f8wAXDZ9D0&index=3&list=PL23RUtoUrDh_AoTmQIPI3h_zfaXF-PXnA
OasisVEVO. (2014, January 17). Oasis – D’You Know What I mean? [Video File] Retrieved from https://www.youtube.com/watch?v=GjwRIjrC4io&list=PL23RUtoUrDh-gmKyYbmBuou7rKAkH0sZB&index=3
OasisVEVO. (2011, September 7). Oasis – Supersonic. [Video File] Retrieved from https://www.youtube.com/watch?v=BJKpUH2kJQg&list=PL23RUtoUrDh9GI3BNh_4-99z9EFyJvQF9&index=7
OasisVEVO. (2014, November 8). Oasis – Roll with It (Remastered) [Video File] Retrieved from https://www.youtube.com/watch?v=vI_yW402Vws
LightingSeedsVEVO. (2012, October 2). David Baddiel, Frank Skinner, The Lighting Seeds – Three Lions (Football’s Coming Home) [Video File] Retrieved from https://www.youtube.com/watch?v=RJqimlFcJsM
Morning Glory Album. [Image]. (2009.). Retrieved http://www.feelnumb.com/2009/10/12/oasis-whats-the-story-morning-glory-album-cover-photo/
Music Mash. (2015, December 9). Robbie Williams – Let Me Entertain You. [Video File]. Retrieved from https://www.youtube.com/watch?v=yRBQNuX6ipY&list=PL23RUtoUrDh-gmKyYbmBuou7rKAkH0sZB&index=4
NoelGallagherVEVO. (2015, January 12). Noel Gallagher’s High Flying Birds – Ballad of The Mighty I. [Video File]. Retrieved from https://www.youtube.com/watch?v=bzQYtpjMjSo&index=4&list=PL23RUtoUrDh_AoTmQIPI3h_zfaXF-PXnA
Parlophone. (2015, January 23). Supergrass – Alright. [Video File] Retrieved from https://www.youtube.com/watch?v=fwjXgskUN50&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj
PulpVEVO. (2011, May 6) Pulp – Common People. [Video File] Retrieved from https://www.youtube.com/watch?v=yuTMWgOduFM&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj&index=4
PulpVEVO. (2009, June 26) Pulp – This is Hardcore. [Video File] Retrieved from https://www.youtube.com/watch?v=JXbLyi5wgeg&index=2&list=PL23RUtoUrDh-gmKyYbmBuou7rKAkH0sZB
RHINO. (2014, February 6). The Smiths – What Difference Does It Make? (Official Music Video) [Video File] Retrieved from https://www.youtube.com/watch?v=XbOx8TyvUmI&list=PLze5jhu6M0TWT2OfPEi6H6YyYVT4oTLyR
RHINO. (2014, July 9). Happy Mondays – Kinky Arfo (Official Music Video) [Video File] Retrieved from https://www.youtube.com/watch?v=bcn4UG6Jd0s
StoneRosesVEVO. (2011, January 16). The Stone Roses – Fools Gold [Video File] Retrieved from https://www.youtube.com/watch?v=NSD11dnphg0
Stone Roses Album. [Image]. (2011.). Retrieved http://musicscene.ie/2011/12/the-stone-roses-phoenix-park-dublin-live-concert-date-confirmed-for-july-5th-2012/
Stone Roses Spike Island. [Image]. (2011.). Retrieved http://www.brewery-vfx.com/project/spike-island-film/
Suede Official. (2010, March 26). Suede – Beautiful Ones [Video File] Retrieved from https://www.youtube.com/watch?v=xqovGKdgAXY&list=PLZAE9cVaYOr0IVhh2Sdm89KuFIgUcQSjj&index=3
Suede Official. (2010, March 26). Suede – The Drowners [Video File] Retrieved from https://www.youtube.com/watch?v=3nWJQStqrfw
Suede (Select). [Image] (n.d.). Retrieved from http://www.ny-web.be/media/uploads/untimelypics/selectapr93.JPG
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Tales of sexual betrayal, inadequacy, regret, shit raves and class. I'm going to say it's the best album of the 90s. Prove me wrong.
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View Author
5
This is brilliant. Chock full of great pop songs and insightful social commentary. Of its time, but stands the test of time. Does exactly what it set out to do. A genuinely perfect album.
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1
Acronyms are intended for abbreviating long phrases or names - they can be super-useful when used for their proper purpose. The acronym for Feeling Called Love would be F.C.L. But P.U.L.P. seems to misunderstand how acronyms work. Acronyms sung as part of a song also usually doesn't go well. Or spelling things out in general. "R-E-S-P-E-C-T" might be the exception, but "Y.M.C.A." and B-A-N-A-N-A-S certainly wore out their welcome. I wonder how long of a playlist we could get out of songs that spell out words or acronyms...? So Pulp misunderstands acronyms, but I think I must misunderstand Pulp. Because apparently "Different Class" is acclaimed and beloved, and people think Jarvis Cocker (surely a country singer and not a Brit-pop dandy) is an amazing lyricist. But my understanding is that the album is nearly unlistenable, and the lyrics are either lame or offensive. I don't need to hear multiple songs of Cocker bragging about his affairs with married women. I prefer low pulp. Or no pulp. The orange juice doesn't lose anything without the pulp, and neither would music.
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5
I loved this album growing up, and that hasn't changed. I feel like I relate and appreciate even more to that sort of smoldering hatred towards upper-class folks that Jarvis has here. Songs like "Misshapes" "Disco 2000" have such a lovely nostalgia and melancholy to me, all the paths in life not taken.... yeah I just adore this album. IN THE MIDDLE OF THE NIGHT. IT FEELS SO RIGHT.
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5
Tales of sexual betrayal, inadequacy, regret, shit raves and class. I'm going to say it's the best album of the 90s. Prove me wrong.
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4
Oh crap this is fun. I mean, is there a better anthem than Common People? It's like Elvis Costello met the Cure. It's music for the scene in the film where the boy chases the girl through the streets in a whirlwind romance. Quick Cuts, closeups, montage interjections. It's kinetic. This is joyful music.
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3
Entirely forgetable pop music, probably dear to those who grew up with it, but rather boring for someone who did not. I can appreciate post-punk and brit-pop, but I don't see what is there to like about this album. The melodies are primitive and boring, the lyrics are terrible, the vocals are nothing special and the mix did not age well at all. I don't think I'll ever listen to it again.
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1
The blues, as best I can understand it as a 62 year old American, middle class, white guy, is the music of the oppressed, voices that refuse to be silent. There is an underlying hope in the blues, an inner freedom and joy not contingent upon external circumstances. The book of Acts in the Bible witnesses to some of Jesus’ earliest disciples, beaten and imprisoned, singing joyful hymns! Different Class ain’t that. It’s just the bruises and the bondage, as an end to themselves, including desires to fuck everybody else’s wives and mothers, as well as fucking up one’s enemies. Don’t get fooled by the opening track- a call for the marginalized to use their minds rather than fists. The next song (and the rest of the recording) betray the lyricist’s true intentions, and ends with the final track, an invitation to meet at a bar in Soho ‘where other broken people go.’ And that’s that. No direction, purpose, understanding, wisdom, redemption, forgiveness, love, etc. Just brokenness for brokenness' sake. Thank God the music sucked too so I won’t be tempted to give it another listen. I didn’t even enjoy writing the review! Alexa, please put on some Albert King. 1/5 (Because I can’t give it a zero.)
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5
Great connection between all the songs. I hadn't known that "Common People" is their song before listening to this album. "I Spy" sounds to me like a combination of all songs on the world - "It's A Sin" by Pet Shop Boys, a little bit like Queen. Of course "Disco 2000" is also worth mentioning! Definitely great album to be the first one out of the 1001.
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1
I don't hate the music the whole time, but I really HATE the lyrics. Every song is about revenge or sex or sex for revenge. And then there is the rape fantasy. "Oh I really love it when you tell me to stop, Oh it's turning me on." All the lyrics do for me is turn me off.
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5
Hell yes fuck yes.
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5
I've listened to this album hundreds of times. It's part of my DNA by now. Pulp is by far the best British rock band of the era.
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5
Biased as this is a personal favorite but it's 5 stars as far as brit pop goes in my eyes
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5
How is this album 25yrs old? How is it so good and I’ve only heard 2 songs on it? HOW????
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5
Is this a flawless album? Well how about this. I listened to the album without Common People, Sorted for Es and Whizz, Disco 2000 and Mis-Shapes. And you know what? It is - Feeling Called Love, Bar Italia and Underwear would be the singles in any other album. Every track has its own story and sound while also sounding part of a coherent whole.
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2
The music isn’t bad but the vocalist’s “seductive vampire” thing he does just about ruins it for me.
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5
Unfortunately this album has been stuck in Plain hell since 2014. The album itself is fantastic, Cocker easily had my favorite take on Brit-pop. I listened to Scott Walker before I listened to this album. By the time I got to I Spy, I couldn’t help but feel the influence. I then googled Pulp and Scott Walker and discovered that he actually produced their last album. That is awesome, and so was this album
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5
They're not Blur or Oasis, yet I consider this to the best album to come out of the Britpop movement. Absolutely perfect. Whereas other britpop albums try emphasizing the British aspect, the focus is shifted more into the pop realm (although this album is still quite distinctively British in word choice and grammatical structure). It's such a naughty album, covering themes of sexuality and lust, hidden seductive desires through Romantic mediums of expression, making for a very loud yet wonderfully catchy set of tracks you could easily dance to. Great use of synths, that drive the album yet detracts from any form of repetition. The songs constantly transform into something different with each minute, usually building up into an explosion that makes them suitable for parties. All tracks are great, linked together by unique themes not normally covered in pop genre, while still knowing how to be pop. It deserves a perfect score. Favorite tracks: F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E, Disco 2000, Common People, Bar Italia, Underwear
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5
Really quite fun once you get past the overt 80s Britishness of it all.
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5
Highlights: F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E., Live Bed Show, I Spy Pulp's sustained obscurity always put them in the "I should listen to that, but never got around to it" category. I'm glad I did, this was a wonderful experience from start to finish, which harkens back to David Bowie's soft-glam days and The Smiths Louder Than Bombs. The vocalist plays against a sweeping landscape of reverb and melodies skillfully eeked out of low-production value amps and synths. This less-is-more approach is where Pulp's sound contrasts to Bowie's bombastic presence. It's begging to be heard, and you aren't doing anyone (especially yourself) any favors by not answering the call.
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5
Can’t really score it anything other than 5 stars seeing as one of our first three wedding dance songs is on this album! An album that I related to so much while growing up and working out my place in the world.
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5
This was the first album I ever bought. So part of this is nostalgia, but it still holds up incredibly well. Much less “of its time” than the big Britpop albums of the era, this has genuinely interesting, clever songwriting coupled with absolutely banging singalong choruses. What’s not to like!
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5
Nothing. But. Bangers. Surprising myself with a 5 for this, didn’t want to jump on a bandwagon without truly falling for it…and I fell, hard.
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5
One of Britpop’s absolute best.
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3
Very repetitive. Didn't actively hate it but I also didn't really like anything about it.
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2
Meh
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1
Dude is sexually deprived. Thinks he is high and mighty and that every girl will fall for him. Also a pervert..
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1
This shit is pretty creepy. Not a fan of the lyrics or the whisper-singing. Not too creative and not a good vibe.
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1
Never realized how much I hated Pulp until I listened to this all the way through piece of trash overly hyped record.
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5
Yah yah it's aptly named, because it is in a different class to those other Britpop one-word named bands of the time (Blur and Oasis). Less self-consciously adopting a character than Blur, and rock much harder than Oasis - despite the latter's protests to the contrary, I'm sure. Pulp are slugged in with them purely by dint of making music in Britain at the same time, but the truth is Pulp were never playing the same game as the other two - they were playing a different sport altogether. Wry societal observation intertwined with hyper-personal (seeming) stories plucked from Cocker's own life, all set to a heavier and darker than given credit for rhythmic background. It says far more about the state of Britain (then and now) than the other two ever have. And in amongst all that they have a whole host of sweeping choruses, and smart-but-not-too-too-smug lyrical flits. I thought it was... well... different class.
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5
A glorious celebration of life with a twist of curtain twitching suburban kink. If Oasis were all cocaine arrogance and Blur were introverted heroin, Pulp were Ecstasy and love, reaching out to the misfits and the mis-shapes saying ‘don’t worry, it’s alright, there’s thousands of us who feel like you, fancy a brew?’ Unashamedly making pogo on the dance floor singalong hits and with the peerless Jarvis Cocker, all angles and oddness, yet perhaps the most charismatic front man of the era, Pulp just made you feel loved. The stories on these tracks are fun and absorbing, the music is layered and energetic, never afraid of adding more strings or synths, and the overall effect is a classic album that never loses its lustre with each repeat play and most likely the highlight of the BritPop era.
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View Author
5
By the fall of 1995, the smoke of the Battle of Britpop had yet to fade out properly and there was plenty more where that came from on the Blur and Oasis sides. But if you were tired of it all and were looking for something a little more stimulating, then Pulp were ready to sweep you away. They'd always been ready, they were looking for the proper time to strike and 1995 was that time. First with Common People, the Britpop anthem and Pulp's brightest moment and then Different Class, Pulp's finest hour. Horny escapades, kitchen sink tales of moments and memories past and present, the possibilities that come from connections. They're all laid out here. The minds were definitely at work here and millions were blown away by the suave swagger of Jarvis and Co. They just wanted a right to be different and, for fifty-one minutes, they showed us how.
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5
With the list so heavily Brit-biased, I can at least get on board with this one. Finest Britpop-era band by a country mile, and a great album that has kept its thrills over the decades. Common People is such a brilliant song, never stops building momentum. Can still recall the fun of hearing this album for the first time at college, interchangeable sleeve photos and all. I Spy, Disco 2000, Live Bed Show; friends all seeming quite into the mild perviness within, heady times. The year 2000 was a long way away! Funnily enough, I'd seen Pulp live a few times several years prior and thought nothing much of them. Caught them once or twice again in this period and they were majestic. Still think His'n'Hers is even better tho'
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5
Common People was transcendent, the rest of the album was solid enough to vibe with the whole time. Great experience.
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4
January 1st, 2021. Very maximalist and grand, very well produced, and an interesting story that goes along with it. Standout Tracks: Something Changed, F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E,
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View Author
4
Honestly, this is a pretty solid entry. It's fun and energetic with catchy hooks and just enough edge to remain interesting. I don't know that the world needed an entire album about sex but here it is. Very good but not quite great.
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4
One of the quintessential Brit pop albums. This rivaled Blur and Oasis at the time of its release and it is easy to see why. Catchy, suggestive lyrics, great playing and pop hooks a plenty. I really like listening to this album when I’m not sure what to listen to. Jarvis Cocker is a great lyricist. Favorite song: Common People Least favorite song: Bar Italia
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4
Maybe my favorite Pulp album. I think Common People is a stroke of genius. What a fucking anthem. Listened to Deluxe Edition. Also really like the bonus track Mile End.
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4
Very good 90's britpop. I've been returning to Pulp's "This Is Hardcore" repeatedly since I heard it on this list, and I had a lot of hope for "Different Class" because of it. I'd say that "This is Hardcore" had higher highlights, but "Different Class" is much more consistent. With that said, this album also has a couple of songs that drag on, and drag the album down from a 5 to a 4. But it's a high 4, and I still recommend the album.
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4
So cool that an album that slipped through my fingers 25 years ago, could stand out so much! I have heard Pulp in the past but never leaned in for a true listen. Rate Your Class felt like the perfect education on them. These obvious Bowie-lovers really can write and perform a song! Mis-Shapes is an excellent album starter for the continued catchy & endearing tunes to follow, including the sexy Pencil Skirt and beyond! This will be one of the 1001 that I find on vinyl and add to my collection. **I'd enjoy hearing Arcade Fire cover this record :)
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4
Mis-Shapes: amazing Pencil Skirt: excellent Common People: excellent I Spy: mediocre Disco 2000: excellent Live Bed Show: very good Something Changed: good Sorted for E’s & Wizz: good F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.: Good Underwear: very good Monday Morning: very good Bar Italia: excellent 8.5/10
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4
Vielleicht ist mir ja Pulp auch die liebste all derjenigen Bands die man damals unter Britpop zusammengefasst hat. Tolle Platte hier, eigentlich nur Hits drauf. Sex (!) Drogen (!), Schlägerein, und dazu Jarvis' sleazy Cockyness dir mir immer das Höschen jucken macht. Klassenkampf und süße Rache natürlich als beherrschendes Thema ("I Spy", meine Güte!), und das alles wahnsinnig schlau ohne auch nur ein bisschen verkopft zu sein. Ich möchte 5 Punkte geben - bringe aber trotzdem heute nur 4 raus. Werde schon noch rausfinden woran das liegt. Trotzdem: Big Love!
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4
4.1 + Pulp's flair for dynamics and theatrics are here. "Common People" remains an amazing allegory for the struggles of British class struggle that's catchy and bursting with life. There are also several tracks colored by Cocker's penchant for the Smutty (with a capital "S"). "Monday Morning" reads like a tract from "Tropic of Cancer." In fact, at some point I'll want to give the lyrics more than a cursory skim. There's a literary aspect here that I have yet to fully appreciate.
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4
Obsessed with the melodrama of I-Spy OBVIOUSLY Common People and Disco 2000 are absolute classics I didn't love all of it but also I feel like this is one that will grow on me
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4
Amazingly, I never had this record until a year or two ago. I only knew the hits, which I liked a lot. And until today, I had not listened to the record closely. I like the other songs. Yet I need more time. Ask me in a year if I want to upgrade this measly 4.
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4
Provocative, cynical, catchy, I can see why they were so big.
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4
Way better than Oasis, this is the Britpop I can get behind. Catchy as hell and with a slight, not overwhelming, sarcastic edge to it. B+
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3
Cocker is Costello's heir but for the fact that he's not much of a melodist. Then again, I'm not sure he wants to be. Agitated, swatting-the-flies-buzzing-around-your-head, House-infused rhythms are what he's interested in—a wonderful match with his 'I'm only pretending to be polite' vocal affect and keep 'em guessing lyrical in/sincerity. It's my first time with Different Class, and I suspect not all these local disco beats will endure, but the ones he builds up to a cliff edge certainly will: Common People, I Spy, Disco 2000. So too the creepy Pencil Skirt, which he has the audacity to stick in the track two slot—exactly where Elvis would put it, I bet.
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3
a few great moments but most of it does little for me :/ I know this is a classic of britpop and I'm supposed to like it. 2.5 stars.
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3
Somewhat boring album, not bad, just not interesting. Doesn't move me
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2
Not my type of music...
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2
There were a few great moments in this album. However, it was mostly a slog.
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2
There are some good tracks here, but a lot of fluff. Doesn’t come close to justifying its runtime. Middling effort
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2
Not my favorite. Had some palatable listens, but overall not my kind of music.
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2
it was weird. some of the songs i just didn’t click with and the others were just kinda bad. no hate just not my style
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2
Eh. One of the more forgettable projects we've had on this list. I checked wikipedia for some lore, and this is critically acclaimed?? Like high on best of all time lists????? Must be a British moment because, God save the queen, I was bored almost immediately. Mostly bland, go-nowhere, middle of the road rock. Struggled to find much worth returning to. I would axe this one. Favorite tracks: FEELINGCALLEDLOVE. Album art: Made me think this was late '60s, early '70s. Turns out it's the '90s. I think the black and white pics mixed into the wedding photo is cool, but this isn't doing much for me. 2/5
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2
I was unfortunately not impressed with this album. I had never heard of Pulp before, and I was surprised that this came out in the mid-1990's as this album cover as it gives off early 70's vibes. The music itself also did not end up feeling like it came from the 90's as it felt more geared towards the 1980's brit-pop scene. I'm not a big fan of this genre in general, but I do think something great will come along that might change my feelings towards it. As far as 'Different Class' goes, I don't feel that this record did anything new or exciting that would make it stand out especially in the year that it came out. The singer gave me strong Bowie vibes with a bit of Robert Smith as well. It was never bad and felt like it fit the music well, but I didn't get much out of it. If anything, I noticed that the vocals were mixed in a way that allowed some poor/generic lyrics to shine (this was especially apparent on 'Something Changed' and the closer, 'Bar Italia'). The only tracks I can say that I enjoyed were the opener and 'Monday Morning', but the project as a whole just came across as sort of lame. I attribute this more towards my feelings to this type of music as a whole, but this album did no favors to it. 2/5. NOTE: I just noticed that a lot of my lower ranked albums are from the early 1990's which I find very strange as a lot of my favorite albums/artists came from this time period. I'm not sure when this list was created initially, but I wonder if some of these albums were included on the very first iteration when they might have been considered more revolutionary/groundbreaking at that moment in time. A few of these albums, including this one, just feel outdated at this point.
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Not my cup of tea. Everything sounds very dull and bland. It seems to have potential, but in rare glimpses of inspiration, sadly, the irritating, ASMR-like, whispering vocals just ruin it. And when he really tries to sing it's just underwhelming. "Live Bed Show" could be a classic. Very beautiful melody, but with a souless execution. The album is worth the experience, though. Maybe if you insist, it could grow on you, but I don't see the point in doing that.
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5
Indeed!
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5
The superlatives seem to be deserved on first listen. Of course, I'm a sucker for string arrangements, and there seem to be good ones here. The opening of F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E. stood out especially in that regard. Other than that, loved the pop accessibility, loose concept, and vocals.
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5
This is a classic album, not my favorite by them, but still a banger
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5
hell yes. I am such a bitch for this kind of brit-pop and this was a great example of it in this album. so many strong tracks and “F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E” was soooo G.O.O.D. the songs were funny quirky catchy and just really well composed. the vocalist had a nice voice too.
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5
This is an essential Brit Rock album.
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5
Common People" Released: 22 May 1995 "Mis-Shapes" / "Sorted for E's & Wizz" Released: 25 September 1995 "Disco 2000" Released: 27 November 1995 "Something Changed" Released: 25 March 1996
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5
Oasis are the best band of the 90's, but this is the best album of the 90's. Mis-Shapes - 10/10 Pencil Skirt - 7.5/10 Common People - 10/10 I Spy - 10/10 Disco 2000 - 10/10 Live Bed Show - 8/10 Something Changed - 10/10 Sorted For E's and Wizz - 9/10 F.E.E.L... - 9/10 Underwear - 10/10 Monday Morning - 10/10 Bar Italia - 9/10 Great tunes packed with witty lyrics from start to finish.
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5
The best Britpop album. I think it stands up better than anything by Blur or Oasis from that era
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5
Heel goed common people is het nummer van de plaat, maar de rest is minstens even goed. 9,5 vandaar een 5/5
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5
This is an album from my teenage years. It’s disquieting and challenging to revisit the past in a way. I also can’t sing this in key even though I know all the words. I blame Mr Cocker. I like how Pulp’s albums circumvent what the arrangement of a pop song is like through his spoken parts.
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5
So good
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5
Great way to start the day
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5
So far I only knew Common People by Pulp, a song I really love. Turns out, I very much enjoyed the rest of the album too! Will probably check out other albums by Pulp :-)
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5
Brutal
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5
Was torn between 4 and 5 here. Objectively I think we've heard better albums, but I got more enjoyment out of this than some others. I'd only heard Common People before listening and really liked that song, but it was even better in context.
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5
LOVE!!!!! Punk-y but really chill vibe
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5
I wish I would’ve checked out this album way back when I heard William Shatner’s cover of “Common People” in 2003, but I don’t know that I would’ve appreciated it fully then.
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5
War ich zu Release schon von den bekannten, großartigen Hits getriggert und fasziniert vom Style der Britmania, die um eine Schattierung 70er Jahre Farbentsättigung erweitert wurde, also etwas wehmütig tristes erhielten, so wuchsen Pulp mit jedem Jahr Reife immer größer und größer und füllten selbst die Räume, die mir noch zuvor wie filler des Albums („Sorted for E‘s and Wizz“) vorgekommen waren, oder historisch noch nicht den „Fire-years“ zuzuordnen („F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E“) ein blinder Fleck des Unkundigen darstellten. Vieles klingt schon breit, panavision in Sound quasi und das mir etwas zu slicke Nachfolger Album „Hardcore“ wirft hier schon Schatten voraus („I Spy“, „Live Bed Show“). Es sollte schon als historisch wichtigste Veröffentlichung gelten, auch wenn ich das Finale „Love Life“ biografisch etwas näher am Herzen trage. Dennoch unerreicht, was hier dieser eigenbrödelnden Gang aus ‚Sheffield Sex City‘ gelungen ist. Vermisse die Zeit, als ich noch nicht wusste, was es bedeutet „Something Changed“ 4ever 5.0
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5
Great Album. Really Enjoyed
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5
David Bowie meets dance anthem
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5
The question isn’t whether it’s a 5, it’s are there any better albums out there?
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5
Nice! Reminds me of Rick and morty
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5
Love it
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5
Songs to stalk people in their bedrooms to Prefs : Mis-Shapes, Common People, Disco 2000, Something Changed, Sorted for E's & Wizz, Underwear, Bar Italia Moins prefs: NADA
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5
Préférées <3 Disco 2000 Something changed Feeling called love
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5
A great album that was part of the Brit Pop explosion. Lyrics that reminded us of the struggle of everyday people
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5
The greatest Britpop album ever made
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5
Obožavam. Već kad sam se polako zabrinula da me nista ne moze oduševiti ovaj album je to uspio. Da moram objasnit svoj glazbeni ukus ovo bi svakako ušlo u opis.
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5
Oduševljena sam. Preslušala sam ga tri puta. Dosl hodam nasipom i smijem se jer odavno nisam osjetila taj polet koji nastane kad otkriješ nove izvrsne pisme! <3
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5
Mostly great
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nota dó
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5
This is the soundtrack to me being 16. It's probably a 4 but I feel that's too churlish considering how much these songs are in my brain.
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5
Od svih koje sam dosad poslusala tu, ovaj mi je najbolji!
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5
Great album…
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5
Different. Class.
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5
Brilliant, peak britpop
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5
I'm giving a 5. I know I'm rating high. This reminds me of some of my favourite bands. 2nd song in it's Faith no More and the cure
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5
Don’t care what Mike thinks, Pulp are cool.
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5
Love it - all the songs sounded the same, but I'm HERE FOR THAT SONG.
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5
I mean... I've heard this millions of times lol
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5
Really, really liked this.
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5
I think I'll have to go for the full 5 on this one. It is a bit of a masterpiece
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2016-04-02T14:53:06+00:00
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Discover more about this classic song and the Different Class album here: https://www.udiscovermusic.com/stories/pulp-race-to-no-1-after-17-yearsListen to mo...
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https://floodmagazine.com/84271/the-knocks-holiday87-disco-dance-playlist/
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Listen to a Playlist of Holiday87’s Favorite Disco-Dance Tracks
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Ahead of the debut solo record from The Knocks’ Ben Ruttner, here are 12 tracks that get the artist in the disco mood.
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FLOOD
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https://floodmagazine.com/84271/the-knocks-holiday87-disco-dance-playlist/
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It seems like as a culture we’re on the verge of finally moving past the era of shaming disco, with reconsiderations of Disco Demolition Night and its racist roots and a perhaps overly serious reverence for Boogie Nights marking the subtle shift. Additionally, we’re seeing the genre bleed into all types of other pockets of music, from early 2010s indie rock to mainstream pop music, with disco’s subtle influence on ’90s Brit-pop and the ’00s house revival serving as inspiration.
Disco is also the backbone for the solo debut of The Knocks’ Ben Ruttner, whose first album as Holiday87 drops this Friday. The self-titled release leans on the duo’s funked-out, good-vibes electronic sound while owing a bit more to downtempo and techno—and in its glammiest moments, hints of disco and other formative dance genres.
Ahead of the LP’s release, Ruttner went ahead and gave us a short list of his favorite tracks that similarly refract the light of a slow-spinning disco ball, from undersung Rolling Stones numbers to the latest left turn from Arcade Fire.
Hear the full playlist below. You can listen to his latest single, “Daybreak,” here, and pre-save the record here.
The Rolling Stones, “Miss You”
I feel like the Stones don’t get enough credit for this disco slapper. I love that every band in this era has at least one disco-esque song…it shows that disco never goes out of style!
The Blackbyrds, “Mysterious Vibes”
One of my favorite soul songs that also leans disco. This was flipped into a classic rap song and now I think someone needs to make a modern version of it! This is me asking the universe to please make someone re-sample this song to make a new hit out of it.
The Chemical Brothers, “Got to Keep On”
The Chem Bros are a huge influence of mine, and this song off their latest album is probably one of my top three favorites of theirs ever. The mix of disco, electro, and house is perfect, and the disco bells are incredible!
Arcade Fire, “Everything Now”
Arcade Fire doing disco was my dream come true. Add Thomas from Daft Punk as producer and it exceeds my expectations. There is a big ABBA influence, obviously, and I’m not mad at it at all.
Poolside, “Harvest Moon”
Still one of my favorite covers. This one never gets old. Doing Neil Young justice takes a lot. Poolside nails it and adds some stank to it at the same time.
Boys Noize, “Mvinline”
Boys Noize doing filter house was something I didn’t know I needed. Love how he kept this so simple and made it feel like a proper disco-house song from the late ’90s. This song deserves way more attention.
Le Tigre, “Deceptacon (DFA Remix)”
A blog classic. This was a staple in DJ sets coming up playing parties in NYC, and it will still pack the floor anytime you play it. I wish DFA would keep making these remixes.
Robyn, “Ever Again”
This album was my album of the year when it came out. I probably listened to the whole thing in its entirety four times a week. This closing disco jam is my favorite song on the record.
Blur, “Girls & Boys”
Another dingy NYC bar DJ set staple. I remember only knowing Blur from “Song #2,” and when I heard this it made me do a deep dive into more of their music.
Pulp, “Disco 2000”
While we’re on the Brit-pop wave, I have to mention this one. Although it’s kinda more rock than disco, it still has those disco bells and the great four-on-the-floor groove. I wonder if there’s a proper disco edit of this anywhere…
New Young Pony Club, “Tight Fit”
This song still feels fresh to me. I think if it came out now it would go viral on TikTok or something. I miss this sound. Sassy vocals over simple disco beats. Bring back NYPC!
The Knocks, “Classic”
Shameless self plug. Not much to say about this one besides that I am grateful for this song and owe a lot to it. I hope it stands the test of time like some of the other disco influenced songs above.
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https://mylifeinmusiclists.ca/tag/jarvis-cocker/
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Jarvis Cocker – My (life in) music lists
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Posts about Jarvis Cocker written by jprobichaud
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My (life in) music lists
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<< #62 | #60 >>
So here’s an interesting one.
Pulp released “Disco 2000” as a single in 1995, right at the height of their popularity, and of course, right around the apex of the Britpop extravaganza. Like many of their tunes, it tells a story from the point of view of our semi-unreliable narrator, Jarvis Cocker, an autobiographical tale whose names weren’t even changed to protect the guilty. Its subject matter and sound is inspired not only by contemporary dance clubs, but also of that oft-maligned genre from the 70s, as its title suggests, even tipping an emphatic nod to Laura Branigran’s “Gloria”, a hit song from that era. It is sweaty, laughing, and beer-soaked fun, with a wicked wink at misspent youth.
Seven years later, Pulp was releasing their final single before dissolving into the mist, though none of us really knew it at the time. “Bad cover version” was a play on the subject of this very series – the cover tune – and the video poked fun at BandAid style collective songs, enlisting lookalikes of the who’s who of pop music to sing the tune as a tribute to the band. For the b-sides of this single, Pulp found a couple of willing artists to cover two of their most popular tracks and one of these was Nick Cave to deliver us this rendition of “Disco 2000”.
Now Mr. Cave is known to most as a powerful and talented lyricist and songwriter, often spinning epic yarns, much like our friend Jarvis, but he also doesn’t shy away from covers and usually does an amazing job with them. For “Disco 2000”, he slows things right down into a languid waltz, stretching it and wringing out every ounce of pain. And this is why it’s so brilliant. Cave is an excellent sport, taking the task rather than himself seriously, almost creating a parody of himself in the process. Indeed, where the original is a nostalgic dance party, Cocker’s words in Cave’s hands become a late night at the whiskey bar, full of regret and tears.
Both versions are brilliant. As much as I love the original, I’m calling this one a draw.
Cover:
The original:
For the rest of the 100 best covers list, click here.
What do you get when you have a band, especially a talented and misunderstood frontman, that toils for years in obscurity, always hoping and striving for fame, finally reaches its goal with a couple of hit records and massive headline spots at top festivals, only to find out that the fame is not what he/they wanted in the end? You get an album like “This is hardcore”.
Indeed, Pulp’s previous record, their fifth, “Different class” had them out on top, almost two decades after a 15-year old Jarvis Cocker formed the band with his friend Peter Dalton. Pulp had seen multiple personnel changes over 1980s and they struggled mightily, releasing two albums to almost no impact on the music buying public. They started to gain traction with their third album, 1992’s “Separations”, and then, “His ‘n’ hers” truly broke the band in 1994. It’s sort of a chicken and the egg thing with Pulp and BritPop. Nevertheless, the scene’s wave carried the band with it to the pinnacles of fame and still, it seemed, Jarvis and company weren’t happy. The sixth album took a year to record and was a struggle from the beginning, perhaps this was partly due to the departure of long time member Russell Senior but the band persevered and the results were completely worth it.
When I first heard it, I was a bit thrown off as I’m sure a lot of people were. Of course, I was still young and looking for more of that glam rock to dance to and sing along with Cocker’s wry observations on love and sex and life in general. I wasn’t ready for all this jaded maturity and found the music too heavy on inaccessible side of the scale. Of course, hindsight is 20/20 and with my own jaded maturity, I can now see “This is hardcore” for the masterpiece that it is. An album that is timeless and stands up to Pulp’s best work.
Sample, if you will, my three picks for you below and let me know your thoughts.
“A little soul”: Songs with titles like this are usually a bit more uplifting, soul or R&B pop tracks that shake it, suggesting that ‘little’ is an understatement. However, Cocker turns this idea on its head with a literal take on its theme. The narrative is of a man speaking to his son, likely not a direct conversation though, just one in his head, as he’s watching him from afar or looking at a photo of him. “You look like me but you’re not like me, I hope. I have run away from the one thing that I ever made.” It’s a tired sounding number, an end of the night ballad, a mellow blues band in an empty, echoing club, Cocker sounding sorrowful and full of regret and though he feels he doesn’t have any soul to share, there’s plenty here.
“Help the aged”: Another song here that’s a bit depressing. If you’re sensing a theme, you’re spot on. Amongst the screaming and searing guitars is Cocker eulogizing youthfulness and imploring the young to truly see seniors and not hide from their own mortality. “You can dye your hair but it’s the one thing you can’t change, can’t run away from yourself.” No, it’s not a charitable song, as its title suggests, but an introspective one. A midlife crisis in song form, rage and sadness in a four minute song rather than a red convertible.
“This is hardcore”: The title track is the epic, six and a half minute centrepiece of the album. The sound is very different from the synth glam of their previous record and Jarvis Cocker uses his usual lurid thematics here as an extended metaphor for how he sees the music industry. It’s a slow burning number, dark and seedy, likely something you might hear in a lower end strip joint while a disinterested performer moves to its crawling beat on the grimy stage. Cocker runs the gamut of hopes and dreams and foreplay to being spent and used in every way possible. ”Oh, this is hardcore. There is no way back for you.” This is a great band at peak form.
Check back next Thursday for album #3. In the meantime, here are the previous albums in this list:
10. Sloan “Navy blues”
9. Cake “Prolonging the magic”
8. Embrace “The good will out”
7. Mojave 3 “Out of tune”
6. Rufus Wainwright “Rufus Wainwright”
5. Manic Street Preachers “This is my truth now tell me yours”
You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.
<< #9 | #7 >>
At number eight on my best tunes of 2001 list, we have “The night that Minnie Timperley died”, a track that also figured on my Top five Pulp tunes post I did back at the beginning of this year.
This particular song appeared on the iconic Britpop band’s seventh and final album, “We love life”. It was never released as a single so I likely didn’t hear it in 2001. You see, I didn’t purchase this album the moment it was released into the record stores. Indeed, and as I’ve mentioned in other posts in this series, I was rather poor when we first moved to Ottawa in 2001, with not enough disposable income to lavish upon the purchase of many compact discs. I certainly remember looking longingly on the album’s simple cover and its adornment of block letters spelling the band’s name when I tortured myself by browsing through Record Runner, my favourite independent music store at the time, long since closed down. I had to content myself to the snippets I could catch on the internet, like the first single “The trees”, until I had stowed enough money working overtime at my call centre job.
When I finally put the CD in the tray and pressed play, track number three hooked me on first listen. To my ears, it most certainly should have been a hit, save the dark subject matter. Not that this has ever stopped Jarvis Cocker and company before. Never one to shy from the dark underbelly of humanity, Cocker mines a dream here, telling the story of a teenaged girl’s murder, lurking in the minds of both the victim and the predator. A song that starts so upbeat (“There’s a light that shines on everything & everyone”) but ends so dark and twisted (“And he only did what he did ’cause you looked like one of his kids”). It feels like Jarvis is playing with us. And if you didn’t pay enough attention, you could be easily fooled and taken in by the funky drum beats, handclaps and jangle, alien synth washes, and Who-worthy rock and roll guitar and bass slam riffs.
It’s brilliant stuff that proves this group was great right up until the moment they broke up.
For the rest of the Best tunes of 2001 list, click here.
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https://www.pastemagazine.com/music/the-50-best-britpop-songs
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The 50 Best Britpop Songs
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2014-06-11T17:56:00+00:00
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For a good chunk of the '90s, a handful of bands from across the pond managed to rule the world.
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Paste Magazine
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https://www.pastemagazine.com/music/the-50-best-britpop-songs
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For a good chunk of the ’90s, a handful of bands from across the pond managed to rule the world. Influenced by guitar pop forebears like The Kinks and The Beatles, groups like Blur, Oasis and Pulp stood in contrast to America’s grunge scene at the time and carried the torch for Cool Britannia. Their reign was brief, in the grand scheme of things, with Britpop fizzling out in the late ’90s, and when Radiohead unleashed OK Computer, it was clear that music fans on both sides of the Atlantic would be leaving the genre behind and following Thom Yorke and company to the next big thing. But the influence left by Britpop remains undeniable.
For the purposes of this list, we’re defining “Britpop” as the stuff produced during the first two-thirds of the ‘90s: no Radiohead or Stereophonics, no early influencers like the Stone Roses or revivalists like Coldplay. Not to be confused with simply “pop music by British artists,” we present to you the 50 Best Britpop Songs.
50. Elastica, “Connection”
Yes, Wire fans, Justine Frischmann did crib liberally from the post-punk icon’s “Three Girl Rhumba” when writing this tune. But think of it this way: the continued success of this jaunty synth-driven ode to love and confusion is surely still refreshing Colin Newman and co.’s bank accounts on a regular basis. Besides, when that hip-shaking beat takes over, who has time to look at the writing credits?—Robert Ham
49. The Charlatans, “One to Another”
For whatever reason, The Charlatans never made the lasting impression that the likes of Oasis, Blur or Pulp did on the international stage, but in the UK they were just as vital to Britpop’s development and cultivation as any of those three bands. “One to Another,” a single from 1996, was released in the midst of Britpop and was able to make a notable mark. Ignited by a rock riff, the song epitomizes the pomp and glow that the movement held so dear.—Michael Danaher
48. Echobelly, “King of the Kerb”
Echobelly was essentially the Britpop Blondie, and “King of the Kerb” is one of the band’s crowning achievements. On it, Sonya Madan and company tell stories of homelessness and prostitution over a deceptively cheery melody.—Bonnie Stiernberg
47. Ash, “Girl From Mars”
Though this still-teenaged Northern Irish trio was already beloved in the indie world, this 1995 single with a Pixies-like love of quiet/loud dynamics and leader Tim Wheeler’s bouncing vocal melody pushed them into the top 40 for the first time. As if that weren’t enough, the song was also used by NASA as their telephone hold music for a stretch in the late ‘90s.—Robert Ham
46. Pulp, “Babies”
Originally released in 1992 on an indie imprint, this track didn’t catch fire until Pulp’s new label Island wanted to keep the momentum of the band’s fourth album His ‘n’ Hers rolling. The remixed and re-released version, all glossy synths and aching guitar melodies, went to the Top 20 two years later. And Jarvis Cocker’s wry tale of teenage sexual fumblings and wardrobe hiding helped set the table for the band’s massive success with the similarly minded “Common People.”—Robert Ham
45. The Auteurs, “New French Girlfriend”
Despite never making much of an imprint outside of the UK, The Auteurs were a significant presence during the 1990s. One of their most impressive offerings comes in their hit “New French Girlfriend,” which pairs flouncing electrics and bass with strong song structure. At the time, “New French Girlfriend” wasn’t the band’s best-known song, but it has endured over the years to be their strongest effort.—Michael Danaher
44. Cast, “I’m So Lonely”
By the time Cast’s cheekily titled Mother Nature Calls was released in 1997, ballads had been done to death by their contemporaries. But what makes “I’m So Lonely” (a Top 20 hit for Cast) stand out isn’t its grandiosity or bombast but its honed-in simplicity and subtlety. Yes, there are strings and harmonies that build and blossom as the song progresses, but the track keeps its feet on the ground with a repetitive, straightforward melody. It was a welcome return to form at a time when many bands were submerged in excessive ornamentation and superfluous overproduction.—Michael Danaher
43. Shed 7, “On Standby”
England’s Shed 7 enjoyed some notable success in the UK, thanks to the quartet’s wily songwriting and comparisons to pre-Britpop acts like the Stone Roses and The Smiths. “On Standby,” one of the singles off of the band’s 1996 album, A Maximum High, is a straight-up guitar pop-rock song. Other acts may have leaned on schtick or rivalries to spark attention, but Shed 7 was content to rely on the strength of its songwriting. “On Standby” is a gorgeously raucous work that capitalizes on a beguiling song structure and approachability.—Michael Danaher
42. Sleeper, “Inbetweener”
Though all three of their albums cracked the UK top 10 and they served as Blur’s opening act on the triumphal Parklife tour, Sleeper are still regarded as something of an also-ran in the Britpop hierarchy. Shame, too, as tracks like this prove that singer/guitarist Louise Wener had a knack for earworm melodies and cheeky lyrics that reveal the dark, seamy thoughts hidden away by British suburb dwellers.—Robert Ham
41. Blur, “Charmless Man”
Blur’s 1995 album, The Great Escape, continued Modern Life is Rubbish’s theme of the band’s abhorrence of what the world was coming to. While the tone of “Charmless Man” is generally upbeat and pop-centric, the theme explored is anything but. Only Blur could make a song about decadence and extravagance sound loose and buoyant. “He thinks his educated airs / Those family shares / Will protect him / That you will respect him,” Albarn sings. The combination of the main character’s inescapable gloom juxtaposed with Blur’s infectious “la la” refrain makes the song impossible not to enjoy.—Michael Danaher
40. Pulp, “Sorted for E’s and Whizz”
There was a call to ban this song in the UK after The Daily Mirror’s Kate Thornton misinterpreted it as being pro-drugs (“e’s and whizz” are ecstasy and speed). And while to call it anti-drugs would also be oversimplifying it, there’s a definite melancholy displayed here when Jarvis Cocker sings lines like “In the middle of the night, it feels alright /But then tomorrow morning, oh, then you come down.”—Bonnie Stiernberg
39. Dodgy, “Good Enough”
Dodgy flew too far under the radar to ever be considered part of 1990s British invasion, but that doesn’t mean they weren’t deserving of some attention. The band’s single “Good Enough” is its most immediately accessible song, pairing bubble-gum pop tendencies with a resilient arrangement. From the fluttering brass section to the jangling guitars to the warbling Wurlitzer, Dodgy’s best-known hit was one of the scene’s biggest and best surprises.—Michael Danaher
38. The Boo Radleys, “Wish I Was Skinny”
Already an established band before Britpop became a household term in the early ’90s, The Boo Radleys had no problem whatsoever aligning themselves with the movement’s catchiness and heartfelt musings. The band’s most sincere instance of this is the bright, sunny “Wish I Was Skinny”—a radio-friendly tune that gave the band some much-deserved recognition in 1993. It wasn’t the band’s biggest hit, but it was their most accessible, and its carefree attitude and nonchalance gave the band a sunnier disposition than many of their peers.—Michael Danaher
37. Blur, “Country House”
Released the same day as Oasis’ “Roll With It,” this single managed to trump Blur’s Britpop rivals in the charts going in straight in at No. 1 in late summer 1995. While time will tell which song will be remembered most fondly, this track is surely the most fun of the two. The band sprinkles Damon Albarn’s Kinks-inspired social commentary and guitarist Graham Coxon’s best Mick Ronson impression with liberal amounts of Sgt. Pepper-esque production touches and clanging percussion.—Robert Ham
36. Pulp, “Do You Remember the First Time?”
To some degree, every ‘90s Pulp song is about sexual frustration or struggling against class. Usually, it’s both rolled into one. But Jarvis Cocker got to the heart of distorted sexual longing best on His ‘n Hers’ “Do You Remember the First Time?” At its core, the song is about trying to manipulate someone’s marital boredom in order to sleep with them again, but the startling thing about the jam is its wistful humanity. The gangly frontman’s pleas are desperate from beginning to end: “You say you’ve got to go home / Well, at least there’s someone there for you to talk to.” Even if Cocker can’t remember a worst time, the first time you hear this song is something you’ll always long for time and time again.—Mack Hayden
35. Embrace, “All You Good Good People”
Embrace were one of the last bands to be affiliated with Britpop before its rapid decline in the wake of Radiohead’s earth-shattering OK Computer. A monumental chorus and full-blown horn section are the big payoffs for the band’s 1997 single “All You Good Good People”—which was later included on their 1998 full-length The Good Will Out (and which went to the top of the charts in UK upon its release). The song seems to pick up where (What’s the Story) Morning Glory? left off, before Oasis drowned in their own fatuous, self-absorbed Be Here Now. “All You Good Good People” was Britpop taking in one of its last breaths.—Michael Danaher
34. Suede, “Beautiful Ones”
As Britpop wore on, many bands were growing darker with their sounds, but Suede’s 1996 hit “Beautiful Ones” is content to keep things light and breezy, thanks to a solid electric guitar riff serving as the main lead against Brett Anderson’s distinct tenor and falsetto. The song is a fluttering, amicable concoction that ultimately looks on the bright side of things when so many of Suede’s peers were slipping into a perpetual denial or decline. The song is both simple and sophisticated, and it’s a true Britpop gem that deserves much attention.—Michael Danaher
33. The Verve, “The Drugs Don’t Work”
One of the most emotionally jarring tracks on Urban Hymns, “The Drugs Don’t Work” came at an appropriate time in the bigger picture of Britpop. In a music scene constantly oscillating between success and excess, Ashcroft, like many, found himself on the wrong end of those two points too often. (The demo version of the song originally had the lyrics as: “The drugs don’t work / They just make me worse.”) Dark, honest and poignant, the song is the sound of someone at the end of their rope, funneling in all of the heartsickness and sorrow that goes along with it.—Michael Danaher
32. Pulp, “Mis-Shapes”
As the opening track on 1995’s Different Class, “Mis-Shapes” is forceful mediation on social status and dissatisfaction with contemporary life—a theme carried throughout the rest of the album. “Brothers, sisters, can’t you see / The future’s owned by you and me,” sings Jarvis Cocker. The song builds to a boiling-point chorus armed with frantic drums, desperate vocals, and vigorous guitars and synths. At the time, “Mis-Shapes” was a glimpse of what was to follow for Pulp—socially conscious themes and high-brow musicianship—but it has endured to be one of the band’s most impressive offerings.—Michael Danaher
31. Oasis, “Cigarettes & Alcohol”
As Manchester’s favorite sons, brothers Liam and Noel Gallagher debuted with a swagger unlike any other band in the UK. With Noel’s foolproof songwriting and Liam’s unmistakable aura, Oasis had primed themselves to be the voice of a new generation—one forging its way through life the best way it could: self-medicating and inebriated (a common trend across Britpop). “Is it worth the aggravation / To find yourself a job when there’s nothing worth working for?” sings Liam. “Cigarettes & Alcohol” was the sound of revolting against the status quo. Something was shifting in the music scene, and Oasis had placed themselves at the front and center of it.—Michael Danaher
30. Supergrass, “Caught By The Fuzz”
The opening salvo by this hyperactive quartet of Oxford lads, “Fuzz” is a rip-roaring two-and-a-half minutes of glammed-up fist-pumping garage pop, capped off by a sneering vocal turn by leader Gaz Coombes and his unfettered tale of being busted for drug possession at the tender age of 15.—Robert Ham
29. Suede, “Animal Nitrate”
Suede was one of the first big bands of Britpop, so it’s only appropriate that some sort of feud ensued. The band’s sparring with Blur may have been usurped by the eventual Oasis-Blur rivalry, but tensions and competition were ever-present in both bands’ early days. Not only was guitarist Justine Frischmann kicked out (a result of her own dissolved relationship with singer Brett Anderson and her dating Blur’s Damon Albarn shortly thereafter), but the band enjoyed immense success in the UK while Blur were still struggling to make it big. The band’s song “Animal Nitrate,” a distortion-infused pop-rock track off of their self-titled 1993 debut, was one of the high points for the band, giving Brett Anderson and company immediate and impactful success.—Michael Danaher
28. Pulp, “Lipgloss”
Before His ’n’ Hers came out, Pulp had been dabbling in different incarnations of itself, but the 1994 release is the point where the band really found out what it was made of. For the duration of the album, Jarvis Cocker and company sound focused and fervent, and perhaps most on “Lipgloss”—an upbeat track equipped with one of the band’s best-penned choruses. The song, exploring sexual disenchantment with swirling guitar leads and ubiquitous synths, was a highlight for the band—hinting that the band’s best work lay ahead, not behind.—Michael Danaher
27. The Bluetones, “Slight Return”
While many bands in the mid-’90s were pushing the limits of drenching their sound with loud, sprawling guitars and strings, The Bluetones’ 1996 debut, Expecting to Fly, showed a more tempered side to Britpop. One of the best representatives from that album comes in the single “Slight Return,” a jangly acoustic pop song that offered a nice alternative to the Britpop heavyweights—so much so that it knocked off (What’s the Story) Morning Glory? from the top of the charts, though only briefly. The Bluetones’ accessible, inoffensive sound was the opposite side of the Britpop coin.—Michael Danaher
26. Blur, “For Tomorrow”
Blur’s Modern Life is Rubbish was born after Blur toured the US and became increasingly disenchanted with the music business and American culture. They weren’t gaining traction with their first record, and bands like Suede were garnering much more attention back in the UK. Blur responded in the best way they could: penning and recording a career-altering album. Its lead single and opening track, “For Tomorrow,” propelled Blur forward and resulted in some much-deserved recognition. The song’s music and lyrics are coated with frustration and anguish—and its sing-song chorus and chord changes are catchy and off-kilter in a way that shouldn’t work, but it does.—Michael Danaher
25. The Verve, “Sonnet”
The Verve weren’t the media darlings that many of their peers were, but when the band came out with Urban Hymns, they started to gain respect. “Sonnet,” the second track from the album, is a stunning incantation of love and longing. Like many songs on Urban Hymns, the song soon spills into guitars that thrum and swoon, backed by a wall of strings, bass and drums. “Sinking faster than a boat without a hull,” sings Richard Ashcroft. He may have been singing about his own personal problems, but given the release of the album, he may as well have been singing about Britpop itself, as it was one of the scene’s last breaths of fresh air before it sank entirely.—Michael Danaher
24. Oasis, “Some Might Say”
Oasis more or less claimed to be the best band in the world while at their peak, and while that probably wasn’t the case, for a moment in 1995, it felt like it. Case in point: “Some Might Say”—one of the most striking songs off of (What’s the Story) Morning Glory? Pairing Liam Gallagher’s lead vocals with Noel’s backing vocals, the song showed the strength of both brothers’ skill sets. Its distortion-drenched rhythm and lead would be the same blueprint that would mar much of 1997’s Be Here Now, but in 1995, the approach was both powerful and validating. One of their finest moments.—Michael Danaher
23. Elastica, “Stutter”
After Justine Frischmann was ousted from Suede, she was not content to sit on the sidelines and watch her peers surpass her—including then-boyfriend Damon Albarn. She founded Elastica (along with ex-Suede member Justin Welch) and released their self-titled debut in 1995, which would be the band’s only release during Britpop’s glory days—but what a release it was. “Stutter” is a incredible punk-pop song that chugs along thanks to pummeling drums and ambitiously distorted electrics, punctuated with a calculated verse-chorus arrangement. Unfortunately, like Suede, Elastica never successfully translated to the American mainstream.—Michael Danaher
22. Lush, “Ladykillers”
Another foremost member of the scene early on, Lush had released a handful of albums before their last, Lovelife, came out in 1996. From that record, “Ladykillers” stands out as the stuff pop-rock dreams are made of: dueling vocals from Meriel Barham and Emma Anderson, a Halloween surf-rock guitar lead, a handclap breakdown during the verse, a chorus that gets stuck in your head for days on end. The band seemed to be at its best. Unfortunately the milestone was too good to last; the band called it quits not long after drummer Chris Acland’s suicide later that year.—Michael Danaher
21. Oasis, “Champagne Supernova”
“Champagne Supernova” is one of the final instances of Oasis functioning at its highest level. The lengthiest single released off of (What’s the Story) Morning Glory?, the track was everything a Britpop song was supposed to be: catchy, gluttonous, far-reaching, over-the-top. And while the lyrics still don’t make sense, Oasis could get away with it because they were beloved as the working-class heroes from Manchester. The famous line “Where were you while we were getting high?” may be have come across as shtick or pandering to their own persona, but Oasis didn’t care what anyone thought. And for a few years in the ’90s, that’s what made them so damn good.—Michael Danaher
20. Blur, “Chemical World”
One of Blur’s earlier triumphs, “Chemical World” came out when the band was in the midst of finding what it was made of. While they already had an album under their belts with Leisure, it wasn’t until their sophomore effort, Modern Life is Rubbish, that Blur would able to find a voice and position themselves as one of Britpop’s founding fathers. “Chemical World” is the culmination of the band’s different musical styles all rolled into one—distorted guitar leads, harmonies and hooks, relentless drumming and bass. It’s the band finding and cultivating its sound.—Michael Danaher
19. Super Furry Animals, “Something 4 The Weekend”
In the halcyon days of Britpop, a batch of daffy Welshman could do ridiculous things like purchase secondhand tanks and drive them to raves. You know, when they weren’t cooking up spirited pop concoctions like this, which seems to chronicle getting delightfully lost in a psychedelics-induced frenzy.—Robert Ham
18. Blur, “End of a Century”
Out of the bands that made the biggest splashes in Britpop, Blur was probably the one that showed the most variety and versatility early on. Seamlessly marrying guitarist Graham Coxon’s punk roots and Damon Albarn’s fetish with musical variation and symphonic leanings, “End of a Century” established that Blur wasn’t just some flash in the pan. Mixing acoustic strumming and distorted ornamentation with brass and horns, the song swells and swoons into a chiefly British-sounding arrangement. The lyrics of “End of a Century” may focus on a world stumbling into a new millennium lost and confused, but the music proved that Blur was anything but.—Michael Danaher
17. Supergrass, “Alright”
One of Britpop’s lesser-known stars, Supergrass didn’t have the same adaptability that other bands did when their 1995 album I Should Coco came out (those skills would be realized on subsequent releases), but their hit “Alright” offered a glimpse of their knack for crafting a great hook. (The song would even gain some traction in America thanks to its inclusion on the Clueless soundtrack.) A sunny sing-along song celebrating youth, “Alright” is bright and brief and brilliant.—Michael Danaher
16. Blur, “Beetlebum”
One of Blur’s comeback singles, “Beetlebum” is the opening track on the band’s 1997 self-titled album. The song gets back to Blur’s more guitar-driven early days, but it keeps itself in step with the band’s knack for solid songwriting and crafting catchy-as-hell choruses. It’s the start to one of Blur’s darker, more scattered albums, released when Britpop’s posture was beginning to slouch—when the bands involved were struggling to keep their heads up amid all the expectation and criticism. For all intents and purposes, Radiohead’s OK Computer would come out in the same year and essentially dismantle Britpop’s prominence. In retrospect, “Beetlebum” was the beginning of that end—and you can hear it in the music.—Michael Danaher
15. Oasis, “Supersonic”
The Brothers Gallagher exploded onto the scene with this, their debut single, in 1994. The driving guitar (which, sure, sounds a little familiar to George Harrison’s “My Sweet Lord” riff in some spots—but no one’s better at ripping off the Beatles than Oasis) helped carry this one all the way to the US charts, a first for the band and a Britpop milestone.—Bonnie Stiernberg
14. Suede, “Trash”
Suede was one of Britpop’s most dominant acts, even though they never reached the commercial success in America that many of their peers did. However, that fact doesn’t deter from flashing frequent signs of Britpop genius throughout the ’90s. One of the best examples comes from “Trash,” the lead single off of 1996’s Coming Up, the band’s first album without guitarist Bernard Butler. But the band didn’t seem to miss a beat. The song is a festering, anthemic pop gem that featuring a glorious chorus and guitar- and synth-driven rhythm. A vastly underrated song this side of the Atlantic.—Michael Danaher
13. Manic Street Preachers, “A Design For Life”
The first single from this Welsh band’s fourth album, this track was also the initial step forward by the Manics after their founding guitarist/lyricist Richey Edwards disappeared in early ’95. The emotion baked into these driving riffs and singer/guitarist James Dean Bradfield obviously struck a chord with fans as the tune hit No. 2 on the UK charts and capped off a run of five consecutive Top 5 singles for the band.—Robert Ham
12. Pulp, “Disco 2000”
If you have a nostalgic bone in your body, you had to have felt it thrumming the first time you heard this, the third single from Pulp’s hugely successful Different Class LP. The title suggests a wizzed-up ode to the polyester era, but instead singer Jarvis Cocker calmly opens his high-school diary to remember Deborah (Deb-o-rah!), the first girl at school to get breasts and the one that got away.—Robert Ham
11. Blur, “The Universal”
One of biggest parts of Britpop’s history was the rivalry between Blur and Oasis. It began when Blur released “Country House” on the same day as Oasis’s “Roll with It” and beat it to the No. 1 spot in the charts. Blur would come out on the losing end with its next single, “The Universal”—which would fail to chart as high as Oasis’s “Wonderwall”—but the song remains one of the most superb songs in the Blur catalog. Featuring a distinctly English-sounding string section that couldn’t be pulled off by any other band, the song allowed Blur to not only show its versatility but also its strengths. Musical differences would ultimately dissolve Blur in the early 2000s, but “The Universal” is a shining moment for the band—one that shows they were much more than punk revivalists or “chimney-sweep music,” as Oasis so lovingly put it.—Michael Danaher
10. The Verve, “Lucky Man”
What makes The Verve’s Urban Hymns so great is its inward-looking, soul-searching reflection of Richard Ashcroft’s struggles and shortcomings. But while much of the album is devoted to the downbeat and downtrodden, “Lucky Man” is a definite bright spot on the record—showcasing an upbeat contentment that celebrates doing the best with what you have. The song broods and builds, going from a lone acoustic strum to a string-laden bravado set to Ashcroft’s dueling vocals and a supporting cast of guitars, bass and drums. The Verve would eventually disband because of Ashcroft’s failure to see beyond anything but himself, but on “Lucky Man,” his tunnel vision does the band a great service.—Michael Danaher
9. Pulp, “This is Hardcore”
By the time Pulp’s This is Hardcore came out in 1997, the band was already at the height of its powers. While known for upbeat, lilting sing-alongs, the band took a decidedly darker tone with the album’s direction, particularly with its title track. The song’s creepy piano tinkerings and haunting symphonic rhythm take you through a tale of excess and perversion—something all Britpop contributors would familiarize themselves with sooner or later. Things had begun to unravel. Pulp, a band that had probably best articulated the movement just a couple years prior, now seemed to be detaching itself and coming apart at the seams. “This is the end of the line,” sings Jarvis Cocker on the track, and in many ways it was—for Pulp and for Britpop.—Michael Danaher
8. Blur, “Parklife”
Credit actor Phil Daniels with a big assist on this one, as he handles the excellent spoken-word verses, dropping lines like “Confidence is a preference for the habitual voyeur of what is known as parklife.” It also brought the Blur-Oasis rivalry to a head at the 1996 Brit Awards when the latter band—having just defeated Blur in the “Best British Album” category—took the stage and mockingly sang “Parklife,” replacing the title with “Shite-life.” Classy!—Bonnie Stiernberg
7. Oasis, “Don’t Look Back in Anger”
It may not be the biggest hit that Oasis ever had, but it is most certainly the band hitting its stride. Singer Liam Gallagher sits this out as brother Noel (the sole songwriter of the first few Oasis releases) takes over lead vocals, and the results are spectacular. Notorious for their unabashed lifting from the Beatles, the song’s intro piano is set to the same chords as John Lennon’s “Imagine,” but that’s where the similarity ends. The song elevates to a level that the band could only sometimes achieve on their debut. “Don’t Look Back in Anger” is the sound of everything working. And though Oasis would try to continually capture lightning on subsequent releases, they never sounded more at ease, more confident, more natural than on this highlight from 1995’s (What’s the Story) Morning Glory?—Michael Danaher
6. Blur, “Girls & Boys”
Blur’s presence in America wouldn’t be fully realized until later in the 1990s, but in 1994, with a couple albums under their belt, they were already a behemoth music maker in the UK. And when their defining album Parklife came out, the opening track “Girls & Boys” was a clear indication that Blur was going to places other bands couldn’t even fathom. Fusing punk-laden, off-kilter guitars with a dance beat and synth-heavy hooks, the song showed that Blur was growing and evolving from album to album—a knack that the band would carry into the 2000s. It was the first indication of many that Blur could stay ahead of the curve and still be radio-friendly.—Michael Danaher
5. Oasis, “Live Forever”
No one helped launch Britpop quite like Oasis. The Manchester quintet helped propel the movement into a prominent force and became one of its most prolific contributors. That began with “Live Forever,”one of their best songs off of their debut, Definitely Maybe. Filled with confidence and optimism and swagger, “Live Forever” established the Gallagher brothers as the next big thing. With Liam’s nasally vocals, Noel’s searing guitar leads and an easily navigable arrangement, the song became a catalyst for putting Britpop on the map. While Oasis’s musical formula would eventually wear itself down into redundancy and regurgitation, “Live Forever” is the sound of a band knowing exactly what to do and how to do it. “I think you’re the same as me / We see things they’ll never see,” Liam sings. The song perpetuated Britpop’s grandiosity and everything it stood for.—Michael Danaher
4. The Verve, “Bittersweet Symphony”
For a brief moment, The Verve were the best thing to happen to Britpop. Formerly ignored by the UK press, the quintet unleashed a force with 1997’s Urban Hymns, jump-started by the lead single, “Bittersweet Symphony.” From the hook-heavy strings to the distinct drum arrangement to the pompousness and bombast that singer Richard Ashcroft oozes in the video’s excellent music video, The Verve finally made an impression felt on both sides of the Atlantic—something that didn’t always translate for other champions of Britpop. The movement may have been on its last leg in ’97, but at the time, “Bittersweet Symphony” fooled you into thinking the scene would never end with songs like this out there.—Michael Danaher
3. Blur, “Song 2”
The song that launched a thousand victory celebrations in sports stadiums around the globe, this short fuzzy tune clocks in at just over two minutes and was supposedly inspired by the overwrought dynamics of American outfits like Nirvana and Pixies. On paper that sounds almost silly, but kudos to Blur for pulling it off with surprising authority. All together now: “Woo-HOO!”—Robert Ham
2. Oasis, “Wonderwall”
In spite of all of Britpop’s various voices and styles, this will always be the track that best represents the genre. The song that even The Edge and Blur’s Alex James have said that they wish they had written. The absolute apex of Oasis’s career. Nearly 20 years later, the song still has the power to stir up deep-seated emotions and nostalgia for the bygone era of your choice via that persistent acoustic guitar strum and the plaintive melody of the cello that wanders through the track. But the true power of “Wonderwall” is that for four glorious minutes, all of the lunkheaded press quotes from the Gallagher brothers and all their egregious musical sins of recent years seem downright forgivable. If they were once capable of creating something as undeniably great as this, maybe they aren’t so bad after all.—Robert Ham
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Britpop and the English Music Tradition [WorldCat Entities]
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http://schema.org/description
"The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled. It is now timely to look back on Britpop as a cultural phenomenon of the 1990s that can be."@en
"Britpop and the English Music Tradition is the first study devoted exclusively to the Britpop phenomenon and its contexts. The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled. It is now timely to look back on Britpop as a cultural phenomenon of the 1990s that can be set into the political context of its time, and into the cultural context of the last fifty years û a time of fundamental revision of what it means to be British and English."
"Britpop was the UK's headline musical phenomena during the 1990s û just at the point when devolution suggested that the UK may be breaking down. This edited collection doesn't merely describe the sights, sounds and aesthetics of Britpop, it also explores and explains its political, economic and cultural contexts. The fact that it does this with a critical edge means that it is not only essential reading for popular music students, but also a significant contribution to our understanding of a peculiarly important moment in recent musical history.-Dr Stuart Borthwick, Principal Lecturer in Popular Music Studies, Liverpool John Moores University, UK."
"Andy Bennett is Professor of Cultural Sociology in the School of Humanities at Griffith University, Australia."
"Jon Stratton is Professor of Cultural Studies in the School of Media, Culture and Creative Arts at Curtin University of Technology, Australia. --Book Jacket."
"The book examines issues such as the historical antecedents of Britpop, the subjectivities governing the performative conventions of Britpop, the cultural context within which Britpop unfolded, and its influence on the post-Britpop music scene in the UK. While Britpop is central to the volume, discussion of this phenomenon is used as an opportunity to examine the particularities of English popular music since the turn of the twentieth century."
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50 Greatest Britpop Songs Ever – As Voted By You
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2013-05-13T12:35:03+00:00
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Last week we voted for our favourites - and now you've had your say
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en
| https://www.nme.com/wp-c…[email protected]
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NME
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https://www.nme.com/photos/50-greatest-britpop-songs-ever-as-voted-by-you-1434108
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1
50. The Longpigs – ‘She Said’
50. The Longpigs – ‘She Said’
Last week the NME staff spent a week of debate and bitter grudge matches to decide our definitive list of the 50 Greatest Britpop Songs. Now we’ve asked you lot to rearrange our list into your order. And the results are in! Bottom of the list are the poor Longpigs, with their soaring highpoint, ‘She Said’ was Britpop at its most histrionic.
2
49. Bis – ‘Kandy Pop’
49. Bis – ‘Kandy Pop’
Scottish indie trio Bis were never destined to be Britpop’s biggest stars. However their 1996 offering ‘Kandy Pop’ showed the scene’s irreverent and playful side, a wonky mix of relentlessly upbeat guitars and knowingly meaningless lyrics about sweeties. They were also the first unsigned band ever on Top Of The Pops.
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48. Black Grape – ‘Reverend Black Grape’
48. Black Grape – ‘Reverend Black Grape’
Britpop saw older acts tweaking their sound to ride the new wave of alternative excitement, and one of the most intriguing comebacks was that of Shaun Ryder, whose Happy Mondays had collapsed in a drug fuelled stupor. Black Grape’s formula was much the same; spaceman poetry over funk-inspired grooves. Here, it proved even more batty.
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47. Gorky’s Zygotic Mynci – ‘Patio Song’
47. Gorky’s Zygotic Mynci – ‘Patio Song’
Gorky’s singer Euros Childs impossibly cherubic voice and his sister Megan’s tear-tuggingly mournful violin remain two of the most distinctive sounds of the 90s. But also the most undervalued. Never were they combined more sweetly than on this daisy-mowing song, which is about love, not a patio.
5
46. Kenickie – ‘Punka’
46. Kenickie – ‘Punka’
Before her fabulous media career, Lauren Laverne prominence as the front-woman in a spiky four-piece band whose colourful, witty and completely in-yer-face attitude. crossover into mass mainstream appeal never really happened, but they are remembered fondly. The energetic, sarcastic and very funny ‘Punka’ remains their most cherished song
6
45. The Boo Radleys – ‘Lazarus’
45. The Boo Radleys – ‘Lazarus’
It sounded like someone had slowed ‘Popscene’ down to 12rpm, stuck a deep dub bassline on it and turned it up to 111, and it was truly spectacular. ‘Lazarus’ – the peak of The Boo Radleys’ 1993 masterpiece ‘Giant Steps’ gave Britpop permission to swathe itself in pomp and circumstance when it saw fit.
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44. Menswear – ‘Daydreamer’
44. Menswear – ‘Daydreamer’
‘Daydreamer’ is as essential to Britpop as overpriced cocaine and videos of hairy student types riding beds around beaches. The only song the short-lived band had in their arsenal when they started, it turned out to be the only one they’d need – smarmy, arch, and featuring the kind of riff Graham Coxon would have swapped ‘Song 2’ for.
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43. Shed Seven – ‘Getting Better’
43. Shed Seven – ‘Getting Better’
Breaking through almost the same week as Oasis, and with dangerously similar haircuts, Rick Witter’s mob from York never quite shook out from under their shadow, but they also yielded on of the most durable catalogue’s of the era, and gave Britpop song of its poppiest peaks, like this earnest firecracker of a thing.
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42. Babybird – ‘You’re Gorgeous’
42. Babybird – ‘You’re Gorgeous’
Calling Stephen Jones (aka Baby Bird) a one-hit wonder is a touch unfair, him having enjoyed a hugely long career of largely great albums. But he was never going to better this soaring peak: the seedy lyrical tale of a model’s exploitation cutting (bitter)sweetly against the track’s childlike melodic twinkles.
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41. The Bluetones – ‘Slight Return’
41. The Bluetones – ‘Slight Return’
Britpop at its catchiest and most melodic. No lairiness or sexual undertones here, just a next level jangly pop tune featuring a video with some women running with prams and Bluetones singer Mark Morriss legging it down the street eating a sandwich. Utterly charming.
11
40. Gene – ‘Olympian’
40. Gene – ‘Olympian’
Gene’s melancholic, Smiths-indebted strains were an anomaly amid the laddish Britpop mainstream. And their first Top 20 single and the title track of their Top 10 debut, set their schtick from the off. Distinctly British, but with a vast, lovelorn heart at their centre, and ‘Olympian’ injected genuine heart into a scene that was at times in danger of self-parody.
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39. McAlmont And Butler – ‘Yes’
39. McAlmont And Butler – ‘Yes’
‘Yes’ emerged from two bitter band splits, but that bitterness was channelled into something truly magical. Freed from Brett Anderson’s noir-ish concerns, Butler went the full Spector, while McAlmont delivers an acrobatic, melodramatic vocal the equal of most things that came out of Muscle Shoals. Our list placed it much higher!
13
38. Sleeper – ‘Inbetweener’
38. Sleeper – ‘Inbetweener’
This super-catchy three minutes from the four-piece band who, as far as anyone can remember, only had Louise Wener in them (the guys at the back were known as ‘Sleeperblokes’) told of hapless nobodies caught up in Blur’s nowhere society, characters that are “nothing special, not too smart… not a work of art or anything”. Also, Dale Winton’s in the video.
14
37. Super Furry Animals – ‘Ice Hockey Hair’
37. Super Furry Animals – ‘Ice Hockey Hair’
Britpop’s ultimate destination, the feedback-dunked wig-out of ‘Ice Hockey Hair’ is so head muddling it practically gives you whiplash. Here willful, pill-ful weirdness meets monstrous guitar crunches dead centre, for arguably the Welsh cult legends’ finest hour – and ode to the mullet of all things.
15
36. Super Furry Animals – ‘The Man Don’t Give A Fuck’
36. Super Furry Animals – ‘The Man Don’t Give A Fuck’
The main hook was lifted from a song by ’70s AOR peddlers Steely Dan, and contained a choice expletive that resulted in this track becoming the most profane-strewn top 40 hit in UK chart history. It almost languished as a B-side until label boss Alan McGee realised that despite the certainty of a radio blackout, it would be a hit.
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35. Catatonia – ‘Road Rage’
35. Catatonia – ‘Road Rage’
These valley boys and girl burned briefly and brightly as pop sensations, in part due to their crisp and irresistible hooks, but also their sharp way with a pop culture reference. Previous hit ‘Mulder And Scully’ riffed on X Files mania, while their crowning pop moment likened dating to the trend at the time of shouting at people outside their cars.
17
34. The Auters – ‘Showgirl’
34. The Auters – ‘Showgirl’
Luke Haines’ band are thought by many to have helped give birth to Britpop – they toured with Suede, were London-based and this debut single, brought an arch, wry Britishness to its story of marrying a stripper that was very rare at the time but would be everywhere a year later, albeit in a more garish, populist manner.
18
33. Edwyn Collins – ‘A Girl Like You’
33. Edwyn Collins – ‘A Girl Like You’
Another guy who can lay claim to having helped pave the way for Britpop, his band Orange Juice’s ramshackle, jangly pop being one of the prime influences. And appropriately he scored his biggest hit during the mid-’90s with this 60s-indebted handclap-heavy stomper with the unforgettable Elvis-inspired video.
19
32. Mansun – ‘Wide Open Space’
32. Mansun – ‘Wide Open Space’
Chester’s Mansun helped spawn a counter-revolution against Britpop’s tired and traddier practitioners: sacking off knees-up bonhomie and Cool Britannia bobbins to exist, like Suede or the Manics, as a glorious anomaly. Here was their unsettling masterclass, a swirling, brooding dust-cloud of loneliness, paranoia and alienation. And jolly good it was too.
20
31. Elastica – ‘Waking Up’
31. Elastica – ‘Waking Up’
Proudly pilfering The Stranglers’ ‘No More Heroes’, today’s meekest indie stars could do with taking note of Justine Frischmann’s “If I can’t be a star I won’t get out of bed” attitude, while that chorus, “waking up and getting up has never been easy” is as timeless as their all-black clothes. Make a cup of tea and put (this) record on.
21
30. The Boo Radleys – ‘Wake Up, Boo!’
30. The Boo Radleys – ‘Wake Up, Boo!’
Full of handclaps, sun-soaked vocal harmonies, upbeat drums and blasts of brass, no song better captures the rosy optimism of the Britpop era than ‘Wake Up, Boo!’. It secured these previously sonic screw-loosers a Top Ten smash. Not a great song to play at full volume when you’re still up at 7am if you want to keep all of your teeth, however.
22
29. Paul Weller – ‘The Changingman’
29. Paul Weller – ‘The Changingman’
Meeker souls than Paul Weller would have just sat out the ’90s getting sozzled on their own self-importance, what with him being considered the Big Bang of Britpop by all and sundry. But The Modfather cranked up the fuzzy snark with ‘The Changinman’ – a taut, strutting beast that nicked an old ELO riff and seemingly sneered at pretenders beneath.
23
28. Ash – ‘Girl From Mars’
28. Ash – ‘Girl From Mars’
By 1995, the Britpop spirit had pervaded so far that even young cidermonsters in Downpatrick, NI wanted to run off and join the Blurcus. Hence the insanely catchy smoking-cigars-with-the-alien rampage of ‘Girl From Mars’, the biggest hit yet from maniacal tearaway rock tykes Ash and as good an argument for inter-planetary romance as any song has produced.
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27. Suede – ‘Stay Together’
27. Suede – ‘Stay Together’
Brett’s often slightly snooty about ‘Stay Together’, insisting it doesn’t scrub up to Suede’s usual standards. And he’s talking out of his hoop: here, the squalid tug o’war between his seedy, glam falsetto and Bernard Butler’s swirling grandiosity results in sleazy friction, all swirling nuclear-bombast as doomed lovers slip away from grimy urban decay.
25
26. Blur – ‘Chemical World’
26. Blur – ‘Chemical World’
A last-minute addition to ‘Modern Life Is Rubbish’, ‘Chemical World’ epitomised Blur’s knack for a subtle social observation perfectly. Full of tales of working class tedium, but strung together with Graham Coxon’s inimitable guitar-work, it introduced Blur MkII’s British cultural fixation with aplomb.
26
25. Supergrass – ‘Caught By The Fuzz’
25. Supergrass – ‘Caught By The Fuzz’
It might have recounted a young Gaz Coombs getting busted with a spliff, but “caught by the fuzz” could just as easily describe the feeling of being swept away in its distorted guitars and noisy indie pop bluster. It won the band a Top of the Pops appearance famous for a cheeky reference to Hugh Grant, then embroiled in a prostitution scandal.
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24. Blur – ‘Popscene’
24. Blur – ‘Popscene’
The messy birth. Throwing big, bold brass up against freewheeling Graham riffs and, pummeling rhythms, the world just wasn’t ready for this crazed, in-yer-face new scene, it needed to be artfully seduced out of its James T-shirt by ‘The Drowners’ first. But in retrospect this was the brilliant-white spark of thermonuclear fusion that created the Britpop universe.
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23. Elastica – ‘Connection’
23. Elastica – ‘Connection’
‘Connection’ was Elastica’s biggest song. At the time, and still today, that crude, blarting, reptile brain-irresistible riff caused heads to instantaneously snap and limbs to jerk in the direction of the nearest danceable surface. ‘Connection’ is one of the most undeniable proofs of how borrowing from your influences (Wire) is, must always be, a good thing.
29
22. Pulp – ‘Mis-Shapes’
22. Pulp – ‘Mis-Shapes’
On which Jarvis Cocker’s rage boiled over into a war on stupid people. “What’s the point of being rich if you can’t think what to do with it? ‘Cause you’re so bleedin’ thick” and “we’ll use the one thing we’ve got more of – that’s our minds” are surely two of the finest put-downs to ever make it into a song
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21. Pulp – ‘Babies’
21. Pulp – ‘Babies’
While famous kids played out in Camden, Pulp offered a vision far closer to the experiences of the kids going out buying the records and tickets that pair for all those coke habits. ‘Babies’, though takes it to creepy extremes of voyeurism, told the story of the awkward social sexual awakening of nervy teenagers all over suburbia. Still a bit weird to dance to though.
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20. Suede – ‘The Wild Ones’
20. Suede – ‘The Wild Ones’
There’s a reason why this 1994 clash of acoustic guitar, organ and elegiac vocals remains Suede’s most soulful song nearly 20 years on. Stirring and anthemic, it’s an emotional tour de force, one singer Brett Anderson claims embodies “the message of Suede”.
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19. Blur – ‘For Tomorrow’
19. Blur – ‘For Tomorrow’
Here was the moment that Blur shook off their baggy, trend-hopping beginnings and reinvented themselves as the quintessential chroniclers of the British condition, as Graham’s choppy, quivering and Kinks’-aping guitar – all quaint, la-la-melodies and slick ’60s swagger – gives Damon platform to don his Town Cryer outfit and serenade the capital
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18. Pulp – ‘This Is Hardcore’
18. Pulp – ‘This Is Hardcore’
How do you follow an album as era-defining as ‘Different Class’? First, release a single called ‘Help The Aged’, about old people sniffing glue. Then you go deep on your band’s obsession with twisted sex and bust out the dirtiest song of the era. “You are hardcore, you make me hard.” Jarvis Cocker you bonk-addicted lunatic.
34
17. Supergrass – ‘Alright’
17. Supergrass – ‘Alright’
The last in your vote not hewn from the ‘Big Four’, this ode to teenage kicks still stands up today as a celebration of having nothing to do feeling like the most important job in the world. “It isn’t supposed to be a rally cry for our generation,” Gaz Coombes would later sniff of Britpop’s cheeriest moment. So what, we’re having it
35
16. Pulp – ‘Sorted For Es and Whizz’
16. Pulp – ‘Sorted For Es and Whizz’
It’s very hard to evoke the elusive and intangible feelings of a festival into the form. But Pulp managed it, providing a wistful, melancholic epitaph to one of the most romance-drenched eras of the modern age. Its thrill was in its ambivalance: “Is this the way they say the future’s meant to feel? Or just 20,000 people standing in a field?”
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15. Pulp – ‘Disco 2000’
15. Pulp – ‘Disco 2000’
Quite amazingly, ‘Disco 2000’ was the fourth single to be taken from ‘Different Class’, and manages to actually be the poppermost cut of all. And Pulp’s ultimate floor-filler proved that there was some proper mojo behind Jarvis’ intellectual weight, a suburban mini-epic of teenage crushes, pre-millenial tension and poetic missed opportunities.
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14. Blur – ‘End Of A Century’
14. Blur – ‘End Of A Century’
Inspired by Damon and Justine’s mellowing relationship, ‘End Of A Century’ was the heart and soul of ‘Parklife’, a state-of-the-millennium address dripping with insight and mundanity. Like so many of the best Britpop songs, it found pride and collective joy in the bleakest of situations.
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13. Suede – ‘The Drowners’
13. Suede – ‘The Drowners’
‘The Drowners’ was that celestial moment where Britpop cohered behind a sleazy, seductive glam writhe about guns, lines, infatuation and intoxication that made everyone who heard it want to instantly drop everything to pull on a blouse, beat their arse blue with a microphone and run with the dogs under nuclear skies. Britpop’s ‘Starman’.
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12. Blur – ‘Parklife’
12. Blur – ‘Parklife’
The track that came to epitomise the sound and aesthetic of Britpop might have had far less of a cultural impact without the seminal narration from Him Out Of Quadrophenia. As Graham Coxon explains, “Damon was just going, ‘It don’t feel right doing this’ so I just said why don’t we get someone else to do it like Phil Daniels. So we got him in and it worked.”
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11. Blur – ‘To The End’
11. Blur – ‘To The End’
The first time Blur showed their softer side on the second single taken from ‘Parklife’, 1994’s ‘To The End’ was a tender telling of a broken-down romance. “Been drinking far too much,” pines Damon Albarn over lush orchestration, before a choral cameo from Stereolab’s Lætitia Sadier. Britpop’s mirrorball slow-dance.
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10. Blur – ‘The Universal’
10. Blur – ‘The Universal’
As things get serious with your ultimate Britpop top ten, another one of Blur’s elegaic moments. ‘The Great Escape’ was high on its high concepts, and they didn’t get much higher than this string laden vision of a utopian future that maybe had something less than savoury underneath it. No matter that it would end up on a car ad one day, this is pure class.
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9. Suede – ‘Trash’
9. Suede – ‘Trash’
‘Trash’ marked the glorious junction where Suede’s dandyish, outsider manifesto met its buoyant, commercial peak. A thousand TOTP fans frantically began searching for the nearest black blouse. Oasis and the rapidly-accelerating lad culture may have been at their height, but with ‘Trash’, Suede made being a glam weirdo seem like the most appealing thing in the world.
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8. Blur – ‘Girls And Boys’
8. Blur – ‘Girls And Boys’
Everyone has their theory of when Britpop began, but a better theory than many will be the moment that Blur’s discotronic ode to summers on the Med crossed over. After this point, they could never again be considered a mere ‘indie’ band, its dancefloor stylings were too irresisitible to the very people who populated the lyrics. Blur’s highest entry on your list.
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7. Suede – ‘Animal Nitrate’
7. Suede – ‘Animal Nitrate’
For your favourite song by Suede you chose the song that jump-started Britpop’s androgynous wing. Their third single’s hip-thrusting Bowieisms set the bar for everything that was to come and proved they were a real deal – even if half the teen fans had no idea what amyl nitrate is usually used for or what ‘chasing the dragon’ actually meant.
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6. Pulp – ‘Common People’
6. Pulp – ‘Common People’
When Team NME made our list through arguments and Chinese burns, we came up with this as our absolute favourite. In your vote it still makes a very respectable entry within the top ten, Pulp’s indomitable exercise in class-war-you-can-dance-to standing out as ferocious to this day. Its outing at Glasto 1995 became the single most unifying moment of the decade.
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5. Oasis – Wonderwall’
5. Oasis – Wonderwall’
It became the crossover Britpop anthem that broke Oasis into the mainstream, got voted the best song of all time by Virgin Radio in 2005 and invented stoolrock. But perhaps ‘Wonderwall’s greatest achievement is that it has entered rock legend, enduring on terraces, in pub lock ins and at wedding discos to this day.
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4. Oasis – ‘Cigarettes And Alcohol’
4. Oasis – ‘Cigarettes And Alcohol’
More Oasis! Just as much as booze and fags, here’s a song about class; a snarling response to being young and poor under Tory government. Whether they became rock’n’roll stars or whether they just ended up spending their Friday nights down the local, it didn’t matter, the Gallaghers were kicking against things and inviting you to do the same.
48
3. Oasis – ‘Supersonic’
3. Oasis – ‘Supersonic’
And even more Oasis! Their best early songs are all about casually catching once-in-a-lifetime chances and swaggering through them as if you were born for it and barely even care. ‘Supersonic’, the ultimate in white-hot chutzpah, remains Noel’s favourite Oasis single, and you can see why. One anagram of Supersonic is ‘super icons’. Chance? Unlikely.
49
2. Oasis – ‘Don’t Look Back In Anger’
2. Oasis – ‘Don’t Look Back In Anger’
And yes, Oasis once again! There’s a very good reason that Noel Gallagher ends every High Flying Birds gigs with your second favourite Britpop tune. It’s the sound of every hair-tingling high of the 1990s, and the only song in recorded history that begins with John Lennon’s ‘Imagine’ piano chords and arguably goes on to actually improve on them.
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“It was time to champion our own sound”
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2024-04-13T10:41:32+00:00
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Thirty years ago Blur released Parklife and ‘Britpop’ went mainstream. But there’s a secret history to be told that shows the era was far more varied and inclusive than it is given credit for
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https://wesleydoylewrites.substack.com/p/it-was-time-to-champion-our-own-sound
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On the 25 April 1994 – that’s three decades ago, folks – Blur released their third album Parklife. It was a critical and commercial success, gaining plaudits from all corners of the media as well as going straight to number one. It stayed on the album chart for 90 weeks, went on to sell over a million copies in the UK alone, and was the first in a run of albums from UK acts that wouldn’t have got anywhere near Top of the Pops 18 months previously. Its release marked the moment a musical movement, formed in the dingy clubs and pubs of the capital, moved unequivocally into the mainstream. For some this may have been perceived as a victory, a validation of sorts, but for those who were there at the beginning it was as perplexing as it was unprecedented. The tiny scene that encompassed lounge soundtracks, lo-fi electronica, retro pop and spiky post-punk found all its subtleties and nuances planed off and branded ‘Britpop’, which then became a byword for bloated 90s major label excess.
This laddish, boozy, boorish image has gone on to taint the music, yet the seeds of what became Britpop took root in an art school sensibility and DIY aesthetic. Back in 2020 DJ, writer and curator Martin Green put together Super Sonics – 40 Junkshop Britpop Greats a compilation which aimed to reacquaint the public with the origins of the scene, and reinforce the outsider status of many of the acts. Green was the driving force behind Smashing, one of the London clubs the epicentre of early 90s home-grown creativity.
“The impetus for Smashing was to play out records that you wouldn’t hear anywhere else and to mix up lots of different styles,” says Green. “Up until then clubs didn’t really do that, they would tend to play one type of music, but we would play punk to easy-listening to disco to glam, all kinds of funny things really.” There were plenty of takers for this mix-and-match approach. “Most of the crowd were in their early 20s and there was definitely a diversity to it all – we’d have people like Leigh Bowery and Jarvis Cocker on the dance floor. It was very mixed and very inclusive.”
By 1993 Smashing found a permanent Friday night home at Eve’s, a Regent’s Street club made famous by the Profumo Scandal in the 60s, and bands such as Suede, Pulp and St Etienne were regulars.
A couple of miles away in Camden another club was plundering the past to find a future. A bit more rough and ready and a lot less camp, Blow Up was the brainchild of Southend DJ Paul Tunkin.
“I felt something was missing at club level in London and we needed more pizazz, ambition, and energy.” Blow Up looked back musically, says Tunkin, to re-energise the present. “We played a variety of 60s music – soundtracks, beat, Hammond instrumentals, dancefloor jazz – alongside new wave, glam and indie to create a new swinging London.”
Always ready to name a scene, the 90s music press were quick to align these emerging cliques, whether the bands liked it or not.
“Our motives were quite pure at the time,” says Steve Lamacq, who in 1993 was Reviews Editor at Select magazine. “There were a lot of us who were fans of Blur and thought Modern Life Is Rubbish was a really underrated record. Although there was a lot of good stuff coming out of America, it was time to champion our own sound, as so much of it was being overlooked.”
This championing was none more evident than on the April 1993 cover of Select, which featured Brett Anderson superimposed on the Union Jack, alongside the legend, ‘Yanks go home!’ For many, this was the starting point for Britpop, particularly as it was the first time the phrase was used to describe a group of bands including Suede, Pulp, Denim, St Etienne and The Auteurs.
Lamacq took his home-grown supporting stance with him to the BBC when he and fellow broadcaster Jo Wiley took over Radio 1’s Evening Session.
“Jo and I arrived at the perfect time,” he says, “The second half of 1993 Britpop was just beginning to reveal itself. I liked the mix of influences, lining up bands like Wire and The Kinks, and how it celebrated the different characteristics displayed by songwriters and lyricist around the country. You had the arch, observational, yet slightly cynical view from London; the big uniting anthems from Manchester; that post-Beatles maverick thing in Liverpool and a sort of west-coast Britpop from Glasgow. I wanted the Evening Session to be like the shows I’d listened to as a teenager, where you felt part of something, and Britpop gave us something to focus on, something to form a gang of listeners around.”
As Suede, Pulp, Blur and Oasis started their assault on the mainstream, a second wave came in their wake – groups such as Supergrass, Sleeper and The Bluetones. Bands also started to emerge featuring the DJs and regulars at Smashing and Blow Up, including Menswe@r, The Weekenders and Pimlico.
“It was good fun for the first couple of years,” says Lamacq. “There were indie clubs every night in London and there were loads of little victories, like Pulp’s Common People going to Number 2 in the chart. It really felt like the misfits were on a winning streak.” But then, says Lamacq, the record company cheque books came out. “Bands with limited talent were signing for stupid money and then making average records and you started to see the cracks in the scene.”
So, looking back three decades on, what is the real legacy of Britpop?
“The reinvention of the DIY scene was one of its triumphs,” says Lamacq, “Our postbag was full of self-financed singles and obsessive new fanzines.”
This is borne out by the Super Sonics compilation: for every Pulp, Blur and Elastica; there are multiple Scalas, Powders and Showgirls.
“Some of the bands forgotten in the mists of time certainly played a key role in the era,” says Tunkin, “As they helped to enrich the scene and culture, and injected ideas that were sometimes picked up by the better known acts.”
Using Green’s Super Sonics compilation as inspiration – and sticking to format du jour the 7” single – I outline the development of what became Britpop, from the late-80s progenitors, through early releases from the big hitters, to bands that barely made an impact even at the time.
“There was a spirit and an energy in the scene that is in these records,” says Green. “A lot of them still sound amazing. Nothing feels corporate or commercial, nothing is aimed at America or global success, which everything seems to be now. Just an explosion of creativity from unique and interesting people doing things on their own terms.”
Full disclosure: I was in one of the bands mentioned below. You’ll have to guess which one.
Boys Wonder / Goodbye Jimmy Dean / (Boys Wonder Records/BW1/7”/1988)
Predating the first mutterings of the label ‘Britpop’ by five years, Boys Wonder already had the template mapped out. “As far as a British band rejecting the perception of contemporary American culture, here’s your patient zero,” says Andy Lewis, resident Blow Up DJ and bassist with Pimlico, who would regularly drop Boys Wonder tracks into his sets. “They were so unfashionable in the 80s they were ahead of their time,” he says. “Had they been around a few years later they’d have cleaned up.”
Plundering the recent past and using it to comment on the contemporary became de rigueur in the 90s but by the time everyone had caught up Boys Wonder had morphed into Corduroy and were filling dance floors with a very different yet equally arch approach.
Five Thirty / Air Conditioned Nightmare / (EastWest/YZ543/7”/1990)
Another band who were a couple of years ahead of the game, Five Thirty came out of the 80s mod revival alongside The Prisoners, Purple Hearts and The Truth. Their adoption of 70s-referencing clothing and the psychedelic tinge of their power pop put them slightly out of step with their contemporaries and predated a lot of what went on to define 90s guitar music. Despite signing to EastWest in 1990 the band disbanded in 1992 and split into Orange Deluxe and The Nubiles, both bands finding favour with the Evening Session but not much beyond.
World of Twist / Sons of the Stage / (Circa/YR62/7”/1991)
Formed in Sheffield in 1985, it took World of Twist a while to get going, but once they did there was no one else like them. With louche singer Tony Ogden leading the charge, they mixed up space rock, psychedelia and northern soul, which combined with their papier mache and tinfoil stage props, made them unlike any band before, but plenty since. Unfortunately, they never managed to properly capture what made them special live in the studio, although early single Sons of the Stage comes close. I think it’s fair to say a pair of squabbling Mancunian brothers were listening.
Kinky Machine / Swivelhead / (Lemon Records/LEM 4/7”/1992)
Flying the glam-rock flag as early as 1991, Kinky Machine drew comparisons to Mott the Hoople and The Only Ones, and mined the same 70s seam as Suede and Pulp. “In the beginning I definitely felt we were going against the grain,” says main man Louis Eliot. “I had this Oxfam glam aesthetic in mind, not just visually but musically too; trying to match the melodic sensibilities of David Bowie, the storytelling of Ray Davies, the drum sound of the Glitterband and the backing vocals of Mick Jones. I was striving for a cultural identity that seemed diluted or completely forgotten.”
Eliot called time on Kinky Machine in 1995 but re-emerged a year later with Rialto, who Lamacq describes as, “One of the more underrated bands of the era.”
“Rialto had some almost comically bad luck with record company politics,” says Eliot. “We knew we'd made a great record but as well as everything else, you need luck and good timing.”
Pulp / My Legendary Girlfriend / (Caff Corporation/serial no/7”/1992)
Despite being included in the same issue of Select as new boys Suede, Pulp had been around in one form or another since 1978 and had already released three albums. My Legendary Girlfriend was something of a turning point for the band, originally released by Fire Records in 1991 it became a Single of the Week in NME. A 7” version a year later became the final single for Bob Stanley’s Caff Corporation label and features a BBC Radio 5 session version of the title track and two never-again-released bonus songs. “Pulp were the first Britpop band,” says Lamacq, “And My Legendary Girlfriend and Countdown were probably my first two favourite Britpop songs.”
Suede / The Drowners / (Nude/ NUD1 /7”/1992)
“In 1991 indie was completely PWEI, EMF, Ned’s Atomic Dustbin, all those crusty bands,” says Green. “Suede were the first indie band who rejected that.” In retrospect the ‘Best New Band in Britain’ hype surrounding Suede somewhat overshadows how genuinely exciting their first run of singles was. The Smiths and David Bowie were often mentioned reference points but their debut single The Drowners showed that they were already marking out a territory that was entirely their own. The B-sides – To the Birds and My Insatiable One showed this was no fluke, and Morrissey gave the band his seal of approval by covering the latter live.
Blur / Popscene / (Food/Food 37/7”/1992)
Released within weeks of Suede’s debut, the fate of Blur’s first step away from the baggy sound they were known for couldn’t have been more different. Stalling at number 32 it was panned by the music press and follow up single, Never Clever, was shelved completely (a studio version can be found on the Food100 compilation). Its failure only made the recalcitrant Albarn double down on his band’s ‘Britishness’ and Blur’s second album Modern Life is Rubbish (working title Britain Vs America) became a touchstone for the burgeoning movement. Popscene is now rightly recognised as classic and, along with The Drowners, is often referred to as the first Britpop single.
Stereolab / French Disko / (Duophonic/D-UHF-D03/7”/1993)
“Britpop may have been pro-British culture,” says Green, “But in an inclusive way, more of a European Britishness. The two things most bands who came from the scene had in common were they were art school kids and they loved Stereolab.” The English-French avant-pop band formed in 1990 and their combining of lounge, kosmische and 60s pop seemed tailor-made for what was happening in London at that time. “We used to play French Disko and Ping Pong at Blow Up! all the time,” says Lewis. “They didn’t really sound like anything else; they were ram-raiding pop culture, helping themselves, it was very post-modern.”
Elastica / Stutter / (Deceptive/BLUFF 003/7”/1993)
Justine Frischmann’s role in the development of what became known as Britpop is shamefully underestimated. The ideas of Britishness that started with Suede went with her to Blur and the uniform of 70s-referencing clothing (Fred Perry’s, DMs, vintage sportswear) that defined the Britpop era came directly from her social circle. Even the resurgence of the 7” single can be traced back to Frischmann.
“I’d started a label and Justine got in touch,” says Lamacq, “We went for a drink and talked about putting a 7” single out as Elastica’s first release. Remember, this was a time when vinyl had fallen dramatically out of fashion. But we did it and within the year, everyone was turning back to vinyl, there were limited edition 7” singles all over the show.”
Tiny Monroe / VHF 855V / (Laurel/Laurel 1/7”/1993)
Lumped in with the short-lived New Wave of New Wave (NWONW) mini-movement, Tiny Monroe formed in London in 1993 around statuesque singer and guitarist NJ Wilow. Although there was definitely a touch of Suede about them, NJ’s natural charisma leant them a haughty glamour that recalled 70s Roxy Music. Their debut single, a paean to NJ’s Ford Escort, VHF 855V was released on faux-indie label Laurel (in fact a subsidiary of London Records) and should’ve set the band up alongside other former NWONWers Elastica and Echobelly. However, line-up and label wrangles meant when their debut album Volcanoes did eventually arrive three years later it promptly disappeared without a trace. This spiky single, and its more measured follow up, the Cream EP, show what might have been.
Showgirls / Saturation Saturday / (Explosion Records / EXP 001 / 1994)
Showgirls hailed from Newcastle and were fronted by platinum blonde Justine Grimley. They released five singles of spiky power pop (four of them on music industry stalwart Tot Taylor’s Poppy records) but the promised album never materialised and the band split in 1997. Their debut self-released single Saturation Saturday put them in the same category as Elastica and Echobelly, although not the same league.
The Weekenders / All Grown Up/Househusband / (Blow Up/BLOWUP001/7”/1994)
For Tunkin his band The Weekenders went hand in hand with Blow Up. “Both were concepts working towards similar goals,” he says, “And we fulfilled a lot of our objectives to some extent. All our singles had sold out of their pressings and things were seemingly moving up.” A combination of bad luck and logistics meant album sessions were aborted. “By the time the band was once again operational, I was working on moving Blow Up from Camden to Soho so my hands were full. Plus, I felt the moment had gone to some extent.” The band left three 7”s celebrating Tunkin’s vision of a 90s swinging London, of which this was the first.
Nancy Boy / Johnny Chrome and Silver / (Equator/NBOYS001/7”/1994)
Not all Britpop was from the UK. Nancy Boy featured Hollywood nepo babies Donovan Leitch and Jason Nesmith (their dads were folkie Donovan and the Monkee’s Mike Nesmith) and they took a distinctly Anglophile approach to their own music. Part Blur, part Gary Numan, totally Britpop, they were completely out of step at home in America but were embraced by the scene in London. “They fitted right in at Blow Up,” says Tunkin. “The club had moved to the Wag in Soho when they played, and Mick Jagger turned up to see them and had a shake on the dancefloor.”
Blessed Ethel / Rat / (2 Damn Loud/2DM04/7”/1994)
Two years before the Blur vs Oasis spat the Mancunians were locked in another battle for supremacy, this time at Manchester’s In the City live event, against NWONWers Blessed Ethel. Again, the Gallaghers had to settle for second place. “We played this a lot on the Evening Session,” says Lamacq. “It had traces of the NWONW and obviously an affection for Pixies and American alt-rock, but still fitted perfectly into the wave of bootgirl-Britpop that I always associate with DMs, charity shop clothes and hollering choruses.” Unfortunately for the Malvern-based four-piece, Oasis may have lost the battle but won the war, and their meteoric rise inversely mirrored Blessed Ethel’s return to obscurity.
The Bluetones / Slight Return / (Superior Quality/TONE 001/7”/1995)
“In the band’s formative years there were lots of cool things happening around London, particularly Blow Up,” says The Bluetones vocalist Mark Morriss. “It was like a disco with a live band in the corner. There was probably only 60 or 70 people there but it was really good.” It was at gigs like this the band sold a self-financed blue vinyl 7”, limited to 2,000 copies. “It was just something that people could take home from a gig really,” says Morriss, “But it got picked up by John Peel and he played it on his show a few times and that’s when the labels started turning up. After that there was a lot of wooing and a lot of wining and dining.” That first single featured an early version of Slight Return, a song that would be reissued and reach number 2 in the charts just over a year later.
Powder / 20th Century Gods/Dizgo Girl / (Parkway Records/PARK001X/7”/April 1995)
Powder only stuck around for three singles, all released in 1995, but they still manged to get themselves on the BBC’s Britpop Now special alongside the era’s biggest names. This may have had something to do with them being signed to Parkway Records, the label run by Savidge & Best, the PR company who looked after many of the acts who appeared on the show. Not to take away from them as a band, Green recalls singer Pearl Lowe being a central figure on the scene and describes the band as, “A tremendous punch of powerhouse pop.” 20th Century Gods was their first single and all 1,500 copies were sold within two days of its release.
Kenickie / Catsuit City EP / (Slampt/ Slampt 31/7”/1995)
Saint Etienne had a pivotal role to play in the careers of several bands on this list. Whether releasing singles on their Caff and Icerink labels or simply championing them to anyone who would listen, Britpop as we know it owes them quite the debt. One of those bands was Sunderland’s Kenickie, who went from scratchy lo-fi beginnings to bone fide chart hits. “They were the ones who made it to TOTP,” says Green. “They eventually signed to EMIDISC and released a few terrific 45s and two albums before splitting in 1998.” The sleeve of their debut EP on Slampt features a drawing of the band by singer and guitarist – now broadcaster and writer – Lauren Laverne.
Alvin Purple / Headcase / (La La La Land/LALA005/7”/1995)
Straight out of Harrow, this three-piece didn’t stick around for long. Having one track on Fierce Pandas’ Return To Splendour EP they released their sole single – on purple vinyl naturally – on the label who brought the world Ash. Produced by the legendary Clive Langer and Alan Winstanley (Madness, Teardrop Explodes, Dexy’s Midnight Runners) Headcase is a glam stomper with a 70s kids’ TV theme interlude, while the B-side namechecks Carry On… actor Jim Dale to cement the retro references. A few gigs were played in support of the single and then they were gone.
Menswe@r / I’ll Manage Somehow / Laurel / LAU4 / 7” /Apr 1995)
Probably the most the most divisive act to come out of the era, Menswe@r are arguably better known for what they did before they released a record than after. Regulars at both Blow Up and Smashing, they formed at the former and played their first show at the latter, causing a bidding war between labels desperate to sign the next Pulp or Blur. “We got a £590,000 publishing deal for three songs,” says Menswe@r vocalist Johnny Dean. “In retrospect it wasn’t a great idea to take all that money, but back then it was all about the bravado.” The resulting single – which they played on TOTP before it had even come out – was hardly revolutionary but captured something of the time and quickly sold out of its 2,500 pressing. “We were kids and we wanted to have some fun,” says Dean, “That’s what Menswe@r were about, we were saying, ‘Look what’s possible.’”
Shag / The Shag EP / (No Label/No Cat No/7”/1995)
Many pre-existing bands had their heads turned by Britpop’s unstoppable rise and before long they were cutting the excess from their music as well as their hair. Accusations of bandwagon jumping abounded, but Lewis is more sanguine: “They were mirroring what was going on every week at Blow Up where bands would come down to see what the fuss was and then come back the next week a little less hairy.” As St Albans four-piece Shag looked to the late-70s for inspiration, they found they had a talent for 3-minute new wave pop songs, as evident on their impossible to find debut EP. “Time has been pretty kind to this,” says Lewis. Managing to make it onto the Evening Session, only 250 copies were pressed and only one copy has ever appeared for sale on Discogs.
Perfume / Lover / (Aromasound/AROMA003/ 7”/1995)
Perfume rose from the ashes of Leicester’s Blab Happy and initially self-released singles on their own Aromasound label. 1995’s Lover caught the ear of the Evening Session and became a firm favourite of the show, with Jo Wiley describing it as, “The sweetest song in all the world.” The band toured with the likes of Gene and Travis and eventually signed to Big Life who reissued the single in 1997. “This is one of Britpop’s early great lost hits,” says Lamacq, “A wonderfully romantic jangling stomp of a single which captures the more wistful strumming side of the genre.”
Pimlico / Bubbles/Fanciful / (Vinyl Japan /PAD32/7”/1996)
“There was an excitement to bands appearing from nowhere with one 7” and then disappearing,” says Lewis, “Although the downside is they never got to develop beyond that initial rush.” Wary of that, for their third single Lewis’ own band Pimlico moved on from the power pop of their first EPs and broadened their musical palette. Bubbles is a highlife-influenced calypso while double-A-side Fanciful a frantic brass-driven dash. Their debut album stretched the sound further, taking in psych and chamber pop, but due to label issues, it took another two years for it to be released, by which time any band associated with the Britpop tag were persona non grata and it joined an ever-growing list of lost albums of the era.
Slater / Random Acts of Senseless Violence / Dry Records / DRY001 / 7” / 1996)
“So many bands were throwing stuff out there and seeing what happened,” says Lewis, “It’s almost impossible to find out anything about them now.” The missing link between Pulp’s kitchen sink lyricism and Blur at their punkiest, the scarcity of Slater’s sole release makes it hard to find even in this day and age of YouTube. “There were a lot of bands who had more enthusiasm than ability and Slater definitely fell into that camp,” says Lewis, “But that’s what was great about the time, bands were buoyed along on the energy of it all, and there was an appreciative audience for them.”
Martin Green’s excellent compilation Super Sonics – 40 Junkshop Britpop Greats is available from Cherry Red Records here.
For those who read to the end…
The Dancing Architect has been going for a couple months now and the feedback has been really positive. So thanks to everyone who’s subscribed, and an extra-special thanks to those who have contributed financially.
The Dancing Architect will be taking a week off next week – I’ve got some freelance deadlines coming up, so I need to focus on those and keep my commissioning editors happy. Please do dig into the archive posts – all eight of them – and feel free to like and share them.
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For the time being though, The Dancing Architect remains free for all, so do catch up on past posts and let me know what you think.
Cheers!
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https://mylifeinmusiclists.ca/2021/02/24/100-best-covers-61-nick-cave-disco-2000/
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100 best covers: #61 Nick Cave “Disco 2000” – My (life in) music lists
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2021-02-24T00:00:00
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<< #62 | #60 >> So here’s an interesting one. Pulp released “Disco 2000” as a single in 1995, right at the height of their popularity, and of course, right around the apex of the Britpop extravaganza. Like many of their tunes, it tells a story from the point of view of our…
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https://s1.wp.com/i/favicon.ico
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My (life in) music lists
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https://mylifeinmusiclists.ca/2021/02/24/100-best-covers-61-nick-cave-disco-2000/
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<< #62 | #60 >>
So here’s an interesting one.
Pulp released “Disco 2000” as a single in 1995, right at the height of their popularity, and of course, right around the apex of the Britpop extravaganza. Like many of their tunes, it tells a story from the point of view of our semi-unreliable narrator, Jarvis Cocker, an autobiographical tale whose names weren’t even changed to protect the guilty. Its subject matter and sound is inspired not only by contemporary dance clubs, but also of that oft-maligned genre from the 70s, as its title suggests, even tipping an emphatic nod to Laura Branigran’s “Gloria”, a hit song from that era. It is sweaty, laughing, and beer-soaked fun, with a wicked wink at misspent youth.
Seven years later, Pulp was releasing their final single before dissolving into the mist, though none of us really knew it at the time. “Bad cover version” was a play on the subject of this very series – the cover tune – and the video poked fun at BandAid style collective songs, enlisting lookalikes of the who’s who of pop music to sing the tune as a tribute to the band. For the b-sides of this single, Pulp found a couple of willing artists to cover two of their most popular tracks and one of these was Nick Cave to deliver us this rendition of “Disco 2000”.
Now Mr. Cave is known to most as a powerful and talented lyricist and songwriter, often spinning epic yarns, much like our friend Jarvis, but he also doesn’t shy away from covers and usually does an amazing job with them. For “Disco 2000”, he slows things right down into a languid waltz, stretching it and wringing out every ounce of pain. And this is why it’s so brilliant. Cave is an excellent sport, taking the task rather than himself seriously, almost creating a parody of himself in the process. Indeed, where the original is a nostalgic dance party, Cocker’s words in Cave’s hands become a late night at the whiskey bar, full of regret and tears.
Both versions are brilliant. As much as I love the original, I’m calling this one a draw.
Cover:
The original:
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1641
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https://dontforgetthesongs365.wordpress.com/2012/04/13/pulp-disco-2000/
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Don't Forget The Songs 365
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http://www.somanyrecordssolittletime.com/wp-content/uploads/2011/01/PulpDiscoPS.jpg
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2012-04-13T00:00:00
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Don’t Forget the Songs-365: Mach Dos: Day 95 Fri. April 13, 2012 Disco 2000 Pulp 1995 “♫ […] do you recall?/ our house was very small/ with wood-chip on the wall/ when I came round to call/ you didn't notice me at all […] ♫” I was up late last night—reliving the glory of the…
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en
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https://s1.wp.com/i/favicon.ico
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Don't Forget The Songs 365
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https://dontforgetthesongs365.wordpress.com/2012/04/13/pulp-disco-2000/
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Don’t Forget the Songs-365: Mach Dos: Day 95
Fri. April 13, 2012
Disco 2000
Pulp
1995
“♫ […] do you recall?/ our house was very small/ with wood-chip on the wall/ when I came round to call/ you didn’t notice me at all […] ♫”
I was up late last night—reliving the glory of the Brit Pop 90’s. Does anybody else remember the night Jarvis Cocker got arrested for doing his “interruption dance” during Michael Jackson’s deity like performance on The Brit Awards circa 1996? That was right about the time Common People and Different Class blew up while Jarvis’ arrest made Pulp notorious.
Although “Common People” is probably Pulp’s most popular hit, there’s something about the Laura Branigan “Gloria” inspired riff on “Disco 2000.” The thing that set Jarvis apart from most of his Brit Pop counterparts was the literary flavor of his lyrics. Cocker’s songs are little short stories spun into brilliantly bizarre li’l pop songs. “Disco 2000” is like Sheffield’s Cocker idea of a post modern Springsteen song.
Jarvis told BBC 6 Music the story behind Disco 2000: “I haven’t got much of a sense of imagination so a lot of our songs are just straight true stories – there was a girl called Deborah – she was born in the same hospital as me […] I fancied her for ages and then she started to become a woman and her breasts began to sprout so then all the boys fancied her then – I didn’t stand a ‘cat-in-hell’s chance’ – but then I did use to sometimes hang around outside her house and stuff like that. The only bit that isn’t true is the woodchip wallpaper.”
But the story doesn’t end there, Jarvis once complained—“People haven’t really covered Pulp songs. I don’t know why – maybe it’s because the lyrics are personal. Or maybe because they think the songs are rubbish!” Not true, Mr. Cocker. Jarvis’ fellow Leonard Cohen enthusiast Nick Cave did an extraordinary cover of Disco 2000 on 2001 “Bad Cover Version” single. Cave turned Cocker’s futuristic love song into a lovely classic waltz ballad.
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https://lyriquediscorde.com/tag/britpop-music/
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Britpop Music – lyriquediscorde
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2017-04-04T13:16:59-07:00
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Posts about Britpop Music written by lyriquediscorde
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en
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lyriquediscorde
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https://lyriquediscorde.com/tag/britpop-music/
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The Best of Britpop Music Tuesday continues with one of my Favorite Songs from the band Pulp. The song "Disco 2000" is my Favorite Track off of my Favorite Pulp Album, Different Class. Pulp is one of the Best of the Britpop Bands, and they are definitely one of my Top Britpop Bands (see my list of Top 10 Britpop Bands from the 90's here - with Pulp in the Top 5). So, take a seat, adjust your speakers or throw on a set of headphones, turn the volume up, and let's learn a bit about one of the Best Britpop Bands and Songs with Pulp's "Disco 2000".
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1641
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https://paulonpop.wordpress.com/tag/britpop/
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paulonpop
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2016-11-22T16:05:15+00:00
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Posts about Britpop written by paulonfilm
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en
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https://s1.wp.com/i/favicon.ico
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paulonpop
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https://paulonpop.wordpress.com/tag/britpop/
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After a recent viewing of the latest Oasis rockumentary Supersonic I was reminded of just how brilliant the 1990s were. Born in 1987, I spent the next decade aging from 3 to 12. So essentially my entire childhood. Really rather integral years in early musical development.
Watching the documentary reminded me of how colourful and optimistic the decade was, particularly in music. It was a good time to be British. We were pretty cool in the 90s. New politics, a new music scene and a new culture were taking over. Even in cinema Britain was proving to be a force to be reckoned with . Danny Boyle’s Shallow Grave and Trainspotting gave the British cinema industry a fresh new look. Guy Ritche’s Lock Stock and Two Smoking Barrels proved the UK could stand toe to toe with Hollywood. Hugh Grant and Richard Curtis were busy revamping the romantic comedy genre. The Full Monty was a hugely successful international smash, and on top of all that Pierce Brosnan stepped into the role of 007 and rebooted the withering James Bond franchise so spectacularly that GoldenEye became the 4th highest grossing film of 1995.
What I remember mostly about music in the 1990s is that album releases, concerts, the top 40 chart rundown, TV appearances etc were all events. “Events” in the sense that, nowadays you can listen to anything you want whenever you want through your phone. Whereas, pre-internet, everything was met with a lot more grandeur. I remember watching shows such as Top of the Pops, TFI Friday and CD:UK with the entire family, sat around 1 TV. Due to the limited amount of TV channels (compared with today) a big event on telly really was a BIG event.
It was the same with music, there were no leaked albums or singles, no illegal downloading, no streaming, no viral marketing. When an anticipated album or single dropped it was an event. Everything was physical as well. You had to actually take yourself down to the shops and buy a hard copy of a cassette, LP or CD. Nothing was as disposable as it is now.
Another big thing for me in the 1990’s as well was purchasing the Now! compilation albums. They were essentially a collection of the biggest chart singles from the last few months gathered together on a 2 disc (or cassette) set. What I loved about them was the diversity. Unfortunately the UK music ‘charts’ seem to have spiraled into disarray. With the Guinness book of hit singles calling it a day in 2006, unable to keep up with the changing trends in chart referencing, and downloads becoming the preferred medium of distribution, the entire chart now, in my opinion, is open to debate. With the amount of internet outlets one can obtain a song from in this day and age I think it is near impossible to give an accurate account of sales and or downloads.
The diversity in the 1990’s Now! albums was truly wonderful though, and I don’t think you see too much of it these days. Now with specific digital radio stations, TV channels and charts dedicated to each individual genre you don’t seem to get the same eclectic mix of popular music as I remember there being. As well as the Britpop (that was predominately indie-rock), there was a huge boy band and girl band scene of the time, with acts such as Take That, Boyzone, 5ive, East 17, Westlife, The Spice Girls, All Saints, B*Witched etc. There was a big Euro-pop wave that hit UK charts with massive singles from the likes of Aqua, Eiffel 65 and Ace of Base and with a big Ibiza club scene emerging dance anthems and trance music was frequently charting well in Britain. On top of all this you had your rap, R&B, rock, pop-punk, grunge and even Nu-Metal crossing over into the mainstream, and because of music shows such as Top of the Pops all of these acts stood side by side and performed on the same bill. It was great.
For this blog post I have decided to focus solely on the Britpop genre. Firstly the term “Britpop” is ambiguous, and I’ve taken it to mean, indie-rock / pop produced by British artists that was part of a big musical scene in 1990s. Naturally I’ve not been able to cover every act that turned up on Top of the Pops with a guitar and a funny haircut, but here’s 20 of the best:
Blur
One of the seminal pioneers of the Britpop movement were the London based alt-rockers Blur. Constantly reinventing themselves throughout the 90s and beyond, the band experimented in a number of musical genres including indie, hip-hop, electronica and gospel, and always seemed to be ahead of the game bringing something new and fresh to audiences. With 4 UK number 1 albums and 11 top 10 singles in the 1990s alone. Blur were definitely one of the most popular UK acts of the decade.
The Lightning Seeds
With a knack for infectious melodies, the Liverpool based quartet will always be remembered for their mega-hit Three Lions. Together with comedians David Baddiel and Frank Skinner, the Lightning Seeds’ single was the soundtrack to England’s 1996 European football tournament and their 1998 World Cup. Reaching number 1 on both occasions, the song generally resurfaces every couple of years for drunken yobbos to yell in pubs during international footballing competitions. Aside from their novelty soccer record, they produced a string of really catchy singles, including this fantastic cover of The Turtles, 1960’s pop tune You Showed Me.
Ocean Colour Scene
Ocean Colour Scene are definitely one of my favourite acts of the 1990s. The bluesy rockers from Birmingham released one of the major albums of the decade in the form of 1996’s Moseley Shoals. The opening track and lead single from the album, The Riverboat Song was propelled into infamy as it was used every week on Chris Evans’ T.F.I Friday. The show ran for 4 years between 96 and 2000 and pretty much encapsulated the 1990s. I had the privilege of hanging out with the band a few years ago, backstage at a gig in Crewe and presented Simon Fowler with a copy of their single The Circle. After looking it over he had no recollection of even recording the B-side, a cover the The Beatles’ Day Tripper.
Cornershop
This unique musical outfit from Leicester scored a smash hit in 1998 in the form of Brimful of Asha. A relatively obscure single released a year earlier, the song barely charted. However with a re-release of the track remixed by Norman Cook (Fatboy Slim), who was also at the height of his fame, the song went straight in at number 1 in the UK, as well as charting in 11 other countries, and becoming a hit in Europe, the US and Australia. Taking their name from the stereotype that British-Asians “often own corner shops” the band fused indie-rock with electronica and traditional Indian music.
Catatonia
Fronted by Cerys Matthews, the Welsh rockers peaked in fame towards the end of the 1990s, scoring 3 top 10 singles and 2 number 1 albums in 1998/99. Cerys also had a number of side projects in the pipeline around the same time, including a duet with Space on their single The Ballad of Tom Jones and then a duet with (the actual) Tom Jones himself on his Reload album. The album essentially rebooted his career and Cerys lent her vocals to the Christmas classic Baby it’s Cold Outside.
Kula Shaker
With infusions of psychedelia Kula Shaker were one of the “grooviest” British bands of the 90s. Their first record K released in 1996 became the fastest selling debut album in the UK at the time and contained elements of psychedelic rock, raga rock and indie. One of the first singles I ever owned was their 1997 cover of Deep Purple’s Hush which I still think, dare I say it, trumps the original.
Pulp
Together with Suede, Oasis and Blur, Pulp would definitely stand out as one of the “big 4” of Britpop. It’s hard to define the band’s style with traces of glam rock, art-rock, post-punk and indie all jockeying for position. Along with Jarvis Cocker’s obscure melodies and lyrics reading like the work of a working class poet, Pulp are almost indefinable in style. Originating from Sheffield, the band were hugely successful and influential in the 1990s. With huge Britpop anthems such as Common People and Disco 2000 the band stood out as something completely different within the genre.
Supergrass
They were young, they ran green, kept their teeth nice and clean. They saw their friends, saw the sites and felt alright. It is rather bizarre that the Oxfordshire trio had around a dozen hit singles in the 90s but in retrospect are generally only remembered for 1. The infamous Alright peaked at number 2 in the UK charts in 1995 and has since become one of the “go-to” Britpop anthems.
The La’s
Speaking of bands that are only remembered for 1 tune…. The La’s were on the scene, a few years before Britpop took off. Releasing only 1 studio album in 1990 and scoring an international hit with There She Goes in the same year, the group disbanded shortly after. A couple year later, guitarist John Power formed a new band that successfully integrated themselves into the Britpop movement.
Cast
And that band was….. Cast. With 3 top 10 albums and 11 successful singles released throughout the 1990s, the Merseyside quartet had a knack for infectious melodies and 60s inspired lyrics and instrumentation. Their debut album All Change went platinum, becoming the highest selling debut album in the history of the Polydor label. Walkaway is generally considered to be the band’s standout tune, however I remember owning this particular single on cassette circa 1997 and playing it consistently.
Suede
One of the biggest and organically exported British bands of the 1990s were the alt-rockers Suede. At the forefront of the 90’s British invasion, Suede were already dominating the scene by early 1993, with a number 1 album and hit singles on both sides of the pond. Animal Nitrate and Metal Mickey charted strongly in 6 countries, the latter scoring Suede a top 10 single in the USA. Standing out from the crowd as being a bit rockier and a bit more glam, Suede definitely perfected their own sound, which successfully resonated with audiences around the world.
Travis
Jumping on to the tail end of Britpop, the Glaswegian soft-rockers definitely used the 1990s as a launch pad to hit their peak. Their first album Good Feeling didn’t really do too much business in the UK despite spawning 5 top 40 singles. It wasn’t until 1999’s The Man Who that the band really took off. With huge hits such as Turn, Driftwood and Why Does It Always Rain on Me? the band would be at the top of their game for the next few years, producing a very impressive back cataloge of catchy pop records.
Shed Seven
Never quite reaching the heights of their counterparts, Shed Seven were always slightly underneath the mainstream radar. Granted they were a lot less accessible for a pop audience. With more complex and melodic guitar arrangements and a slightly darker tone lyrically, they were never going to get a crowd going like Noel Gallagher could with Don’t Look Back in Anger. I am fond of the band though, and similarly to Cast’s Flying, Shed Seven’s Chasing Rainbows was one of my first singles. In retrospect, I’ve no idea how I obtained it.
Stereophonics
I remember the ‘Phoics being tremendously colourful in the 1990s. Colourful videos, colourful personalities, coulourful tunes and colourful albums. Since their debut album in 1996, the band, I think have done a great job of maintaining a certain quality. Take for example, their first 5 albums in particular, there really isn’t a weak link. Similarly with their singles, from 1996’s Local Boy in the Photograph to 2005’s Dakota there isn’t a great deal of filler.It isn’t surprising that they’re one of the Britpop acts that are still going strong today.
Manic Street Preachers
Another motley crew of Welsh rockers that captured the hearts of 1990’s Britain. By 2002 the group had already racked up enough chart success to release a 20 track Best Of compilation. Scoring their first top 10 hit in 1992, the Manics continued strongly for the rest of the decade, even bagging a number 1 in 1998 with If You Tolerate This Your Children Will Be Next. For me though, they will always be the band that sung the theme tune to one of favourite childhood TV shows, the Renford Rejects:
The Verve
Wigan’s biggest musical export since George Formby. Urban Hymns was one of the biggest albums of the 1990s and also contained 1 of the biggest singles of the 1990s, Bittersweet Symphony. I’ll challenge anyone to come up with a more iconic music video of the decade, as almost 20 years later, it’s still being parodied. Masterminded by front man, vocalist and lead songwriter Richard Ashcroft, after the groups disbandment in the late 90’s he went on to have a very lucrative solo career and is still releasing albums to date.
Elastica
Formed by ex-Suede band members Justine Frischman and Justin Welsh, the band debuted with a number 1 LP in 1995. With only 1 album release in the 1990s, the band’s career was short-lived, but integral to the history of Britpop. The band had a very brief reformation in 2000 with a couple of the original members being replaced, and released their second and final album. With mixed reviews and an unremarkable chart peak, Elastica will always be remembered for their momentary, but brilliant stint in the mid 90s.
Radiohead
Getting inadvertently caught up in the Britpop scene, were the experimental / alternative rock band Radiohead. Their debut single Creep in 1992 is now legendary as an indie-rock anthem, and their 1990’s albums The Bends and OK Computer are some of the most critically acclaimed and commercially successful records of the era. Constantly evolving, the band reshaped their sound for every project, and it’s hardly surprising that they’re still continuing to release hugely acclaimed albums and filling stadiums around the world.
Placebo
Another band caught up in the mid 90’s madness were the alt-rock trio Placebo. Their eponymous debut album in 1996, proved to be groundbreaking on the alternative scene, giving a voice to outsider culture and accidentally spilling over into the mainstream. With lyrics about sex, drugs, gender confusion, bisexuality and suicide, combined with Brian Molko’s quirky vocals and some experimental guitar work, the band are 1 of the most unique outfits of the decade.
Oasis
The brothers Gallagher. The poster boys of the Britpop movement, and without doubt the biggest band on the scene. Unashamedly borrowing, plagiarising and thieving riffs and lyrics from T-Rex, Gary Glitter, Primal Scream, Stevie Wonder and The Beatles to name but a few, the band molded all their influences in to one colourful melding pot of optimism, rebelliousness and unbelievably catchy melodies. With Liam as the face of the band and Noel as the brains, Oasis became gargantuan in the UK and it’s hard to imagine another group (in this day and age) managing to reach the heights of their success.
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Pulp (band)
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https://en.wikipedia.org/wiki/Pulp_(band)
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English rock band
Pulp are an English rock band formed in Sheffield in 1978. At their critical and commercial peak, the band consisted of Jarvis Cocker (vocals, guitar, keyboards), Russell Senior (guitar, violin), Candida Doyle (keyboards), Nick Banks (drums, percussion), Steve Mackey (bass) and Mark Webber (guitar, keyboards).
Throughout the 1980s the band struggled to find success, but gained prominence in the UK in the mid-1990s with the release of the albums His 'n' Hers in 1994 and particularly Different Class in 1995, which reached the number one spot in the UK Albums Chart. The album spawned four top ten singles, including "Common People" and "Mis-Shapes/Sorted for E's & Wizz", both of which reached number two in the UK Singles Chart. Pulp's musical style during this period consisted of disco-influenced pop-rock coupled with references to British culture in their lyrics in the form of a "kitchen sink drama"-style. Cocker and the band became reluctant figureheads of the Britpop movement,[4] and were nominated for the Mercury Music Prize in 1994 for His 'n' Hers; they won the prize in 1996 for Different Class and were nominated again in 1998 for This Is Hardcore. Pulp headlined the Pyramid Stage of the Glastonbury Festival twice and were regarded among the Britpop "big four", along with Oasis, Blur and Suede.[5][6]
The band released We Love Life in 2001 and then took a decade-long break, having sold more than 10 million records.[7] Pulp reunited and played live again in 2011, with dates at the Isle of Wight Festival, Reading and Leeds Festivals, Pohoda, Sziget Festival, Primavera Sound, the Exit festival, and the Wireless Festival. A number of additional concert dates were afterward added to their schedule. In January 2013, Pulp released "After You", a song originally demoed for We Love Life, as a digital download single. It was the band's first single release since "Bad Cover Version" in 2002. On 9 March 2014, Pulp and filmmaker Florian Habicht premiered the feature documentary Pulp: A Film about Life, Death & Supermarkets at SXSW Music and Film Festival in Austin, Texas. The film toured the international film festival circuit and was released theatrically by Oscilloscope Laboratories in the US in November 2014.[8][9] It is the first film about Pulp (and Sheffield) that has been made in collaboration with the band. The band once again went on hiatus following this, but in 2022, Cocker announced that the band would be reuniting for a second time to play a series of shows in 2023.[10]
History
[edit]
Early years: 1978–1983
[edit]
Pulp were formed in 1978 at The City School in Sheffield by Jarvis Cocker, then 15 years old, and Peter Dalton, then 14. Cocker's original preference was to name the band after the film Pulp starring Michael Caine, though it was decided that this was too short. Instead, the two took inspiration from a copy of the Financial Times which listed the Arabicas coffee bean in its commodity index. Cocker and Dalton used this, with a slight spelling change, and the band became "Arabicus".[11] Early rehearsals took place in Cocker's house and featured Cocker, Dalton and Dalton's younger brother Ian. After finally deciding on "Arabicus Pulp", a fixed line-up was then established: Cocker, Dalton and two friends of theirs, David "Fungus" Lockwood and Mark Swift.[12] The band played their first public gig at Rotherham Arts Centre in July 1980.[13] Later that year, Cocker met future member Russell Senior, who recognised Cocker from his charismatic sales techniques in his part-time job at the local fish market.[14]
Their musical style at this time was varied, approximately described as "a cross between ABBA and The Fall".[15] A local fanzine also noted this eclecticism, describing them as sounding "as if they listen to the John Peel show every night in an endless quest for influences".[16] Indeed, in October 1981, they gave a demo tape to Peel, who granted them a Peel Session.[17] The session was a giant leap forward for the young band, who became well known on the local music scene as a result. The tracks recorded were in the typical Sheffield sound of the time (cf. The Human League and Comsat Angels): electronic new wave and post-punk. These tracks were released in 2006 on The Peel Sessions compilation.
Despite their exposure on national radio, success was not forthcoming and, apart from Cocker, most of the core line-up left for university. Soon, a new set of musicians were gathered: Simon Hinkler (who later joined The Mission), David Hinkler, Wayne Furniss (who switched to guitar after playing drums in the previous lineup), Peter Boam, Gary Wilson, and Cocker's sister, Saskia. They managed to get enough local backing to record a mini-album in late 1982, entitled It (the title was a pun on pulpit, as if the band were preaching to the audience[13]), which was released in April 1983 by Red Rhino Records. This largely consisted of folkish, romantic pop songs influenced by Leonard Cohen and was a change of direction from the Peel Sessions two years earlier. The album was later released by Cherry Red Records.
Though It failed commercially and fame was still elusive, the band continued to seek commercial success even to the point of recording a single, "Everybody's Problem"/"There Was". The single demonstrated a style shift advised by Red Rhino's Tony Perrin who had convinced Cocker that he "could write commercial songs like Wham!".[18] This approach also failed and Cocker was becoming unhappy with his chosen musical direction. He was set to break up the band and go to university himself before a practice with Russell Senior (violin, guitar, vocals) and Magnus Doyle (drums) led to the establishment of a new, more experimental, artier and noisier direction for Pulp. They were subsequently augmented by Peter Mansell (bass) and Tim Allcard (keyboards, saxophone, poetry).
Independent days: 1984–1991
[edit]
The new incarnation of Pulp survived a number of ill-fated gigs (including one at a rugby club at Brunel University which ended in a riot[13]) before Allcard left to be replaced on keyboards by Magnus Doyle's sister Candida. Following her first performance with the band, they were signed to Fire Records. Soon after signing to Fire, in November 1985, Cocker fell out of a window while trying to impress a girl with a Spider-Man impression and ended up in hospital, temporarily requiring the use of a wheelchair in which he appeared during concerts.[19] Pulp's relationship with Fire Records was tempestuous and Cocker admitted later that the band only accepted the deal as it "was the only offer on the table".[13] During this period, the singles "Little Girl" and "Dogs Are Everywhere" were released.
Pulp's next major release was Freaks (1987), an album recorded in one week due to record label pressure. Cocker was irritated, and remarked that "the songs could've been done a lot better if we'd have had a bit more time...".[20] The release of Freaks ended up being delayed for a year, and the record was not well received. The album's darker style may be considered the antithesis of the happy and optimistic It. When Freaks failed to be a success, Pulp recorded tracks with Chakk's label FON in Sheffield. A single called "Death Comes To Town" was due to be released by FON in early 1988, but this relationship disintegrated and the release was cancelled.[21] It was during this time that Cocker was taking a part-time foundation course at Sheffield Polytechnic. This led to him leaving for London to study film at Central Saint Martins College of Art and Design, effectively folding the band.
The fold was short-lived however. Steve Mackey, a regular at their Sheffield and London gigs, was also studying in London and was asked to join the band as a bass player.[22] The line-up now consisted of Cocker, Mackey, Senior, Candida Doyle, Nick Banks (drums). In mid-1989, they began recording another album for Fire, this time with a bigger budget and production from Alan Smyth, called Separations. This was a progression of the style of Freaks, with Leonard Cohen-esque ballads on side one and an acid house infused track-listing on side two. The disparate styles can be attributed to Cocker and Mackey's different and changing tastes; Mackey introduced Cocker to house music which led to them both going to raves, while Cocker introduced Mackey to "Scott Walker and Serge Gainsbourg".[23] Cocker was also inspired by the band Magazine's early works that "had attack to it combined with a real intelligence, without going into ponce territory".[24] Like Freaks, the release of Separations was delayed, to an extent lessening the potential impact. In the meantime, however, in 1991, a 12" recording, "My Legendary Girlfriend", became music periodical NME's single of the week. Stuart Maconie described it in his review as "a throbbing ferment of nightclub soul and teen opera".[25] Furthermore, "Countdown" began to be mentioned in the mainstream press,[26][27] heralding a turning point in Pulp's quest for fame.
Commercial height: 1992–1996
[edit]
Pulp's repertoire was growing rapidly. Tracks such as "Babies", "Space" and "She's a Lady" were being played live throughout 1991 and in October of that year, they played their first overseas gig, a concert organised by French magazine Les Inrockuptibles.[28] However, the band were still frustrated that Separations still had not seen a release and so Pulp left Fire and signed to Warp Records imprint Gift Records in 1992. Buoyed by a changing musical current, in June 1992 Pulp released "O.U." on Gift while Fire finally released Separations in the same month. Melody Maker made "O.U" a single of the week alongside "The Drowners" by Suede, a prominent new band. Pulp then signed to Island Records, who jointly released (with Gift) the singles "Babies" and "Razzmatazz" to increasing chart success. Next were the singles "Lipgloss" and their first top 40 hit on the UK Singles Chart, "Do You Remember the First Time?",[29] which were put out as full Island releases. These singles were followed by the Ed Buller-produced album, His 'n' Hers (1994), which reached number nine on the UK Albums Chart and was nominated for the Mercury Music Prize.[29]
This sudden increase in popularity was helped by the massive media interest in Britpop alongside acts such as Suede, Oasis and Blur, with Pulp supporting the latter in a 1994 tour of the United States. 1995 saw the peak of Pulp's fame, with the release of their number two single on the UK Singles Chart, "Common People",[29] in May 1995 and their performance in June at the Glastonbury Festival (standing in for The Stone Roses at the last minute). A double A-side single, "Sorted for E's & Wizz/Mis-Shapes", was to precede the release of their next album, Different Class (1995). Upon the release of "Sorted for E's and Wizz", the Daily Mirror printed a front-page story headed "BAN THIS SICK STUNT" alongside a story by Kate Thornton which said the song was "pro-drugs" and called for the single to be banned.[30] The single had an inlay which showed how to conceal amphetamines in a DIY 'wrap'. Cocker released a statement two days later saying: "...'Sorted' is not a pro-drugs song. Nowhere on the sleeve does it say you are supposed to put drugs in here but I understand the confusion. I don't think anyone who listens to 'Sorted' would come away thinking it had a pro-drugs message." The single reached number two on the UK Singles Charts.[29]
Released in October 1995, Different Class garnered significant critical praise and debuted at the top of the UK Album Chart.[29] This was the first album featuring Pulp fan-club president Mark Webber, who became a permanent member of the band on guitar and keyboards. The album followed similar themes to their previous work with observations of life expressed through Cocker's sexualised, sometimes dark and witty lyrics. Other singles released from Different Class were "Disco 2000" and "Something Changed", which reached numbers seven and ten respectively in the UK.[29] In September 1996, Different Class won the Mercury Music Prize.
It was at this time that Cocker gained significant media exposure due to a notorious prank at the 1996 BRIT Awards, where he invaded the stage in protest during pop singer Michael Jackson's performance of "Earth Song" and "wiggled his backside" at the audience. After complaints by Jackson and his entourage, Cocker spent the night in Kensington Police Station charged with actual bodily harm and assaulting the child performers. However, with British comedian and former solicitor Bob Mortimer acting as legal representation, he was released without charge.[31] This incident propelled Cocker into great controversy in the UK and elsewhere, and Pulp's record sales soared as a result. The event also coincided with the beginning of their first arena tour and the Daily Mirror, who had attacked the band months earlier, set up a "Justice for Jarvis" campaign backing his actions and carried out a stunt at Pulp's Sheffield Arena gig on 29 February, handing out free T-shirts. The NME described Cocker's actions as a "great publicity stunt" which was "creative, subversive and very, very funny",[32] while Melody Maker described Cocker as, "arguably the Fifth Most Famous Man in Britain"[33] and suggested he should be knighted.
In March 1996, a compilation of Pulp's early recordings on Fire Records entitled Countdown 1992–1983 was released on the Nectar Masters label. It received largely negative reviews, but due to the band's popularity at the time it reached the top 10 of the UK charts. Cocker, whose permission was not sought before release, urged fans not to purchase the album, comparing it to "a garish old family photograph album".[33] Later in 1996, Pulp gained minor international recognition on the back of the inclusion of the track "Mile End" on the Trainspotting soundtrack. In August, the band played their last public performance for almost two years as headliners of the 1996 V Festival.
Until break-up: 1997–2002
[edit]
It was during this period of intense fame and tabloid scrutiny that longtime member and major innovator in the band's sound Russell Senior decided to leave the band, saying, "it wasn't creatively rewarding to be in Pulp anymore".[34] The band were due to begin working on a new album in late 1996. However, Cocker was having difficulty with the celebrity lifestyle, battling cocaine addiction and a break-up of a long-term relationship. When the band came to begin work on the next album, they had only one song – "Help the Aged".[34] This creative inertia meant the band took over a year to finish the next record. Indeed, it was Cocker's disillusionment with his long-desired wish for fame that made up much of the subject matter of This Is Hardcore, which was released in March 1998. The album took a darker and more challenging tone than that of Different Class and lyrical topics – pornography (the title track), fame ("Glory Days") and the after effects of drugs ("The Fear") – were dealt with more earnestly than on previous records. Also in 1998, Pulp collaborated with Patrick Doyle on the song "Like A Friend" for the soundtrack to the film Great Expectations. The song was also used in the Adult Swim cartoon The Venture Bros. season 4 finale "Operation: P.R.O.M."
Pulp then spent a few years "in the wilderness" before reappearing in 2001 with a new album, We Love Life. The extended period between the release of This is Hardcore and We Love Life is partly attributed to having initially recorded the songs which comprise the album and being dissatisfied with the results. Subsequent interviews also suggested interpersonal and artistic differences, including managing the fallout of the Britpop/Different Class era. Singer/songwriter Scott Walker agreed to produce the record and this symbolised a new phase in Pulp's development. This new effort fell short of expectations and was to be Pulp's last.
Pulp subsequently undertook a tour of the National Parks in the UK, even playing a show as far north as Elgin in Scotland. Richard Hawley, the Sheffield-based singer/songwriter, was also present on various dates on this tour. He later described it as "very much pink feather boas and glamour which was great and brilliant. That was about trying to find glamour among all the shit and I loved all that".[35] In 2002 the band announced that they were leaving their label, Island. A greatest hits package was released: Hits, with one new track. It is unclear whether this was the band's decision or released to satisfy contractual agreements. A music festival, Auto, was organised (held at Rotherham's Magna centre) where they played their last gig before embarking on a 9-year hiatus.
After break-up: 2003–2010
[edit]
Cocker was involved in a number of one-offs and side projects, including the group Relaxed Muscle with Jason Buckle and the film Harry Potter and the Goblet of Fire, where he fronted a group which included Steve Mackey and members of Radiohead. In 2006 he collaborated with Air, Neil Hannon and Charlotte Gainsbourg on her album entitled 5:55. In 2007 he appeared on Air's album Pocket Symphony, co-writing and giving vocals to the tracks "One Hell of a Party" and "The Duelist". His first solo album, Jarvis, with the participation of Mackey, was released to critical acclaim in November 2006. Candida Doyle has performed live with Cocker on his solo tours. Mackey produced tracks on the debut album by M.I.A., Arular, and on Someone to Drive You Home by the Long Blondes, both of which were critically well received. He has also produced tracks for Bromheads Jacket and Florence + The Machine.
On 11 September 2006 the band re-released three of their albums (His 'n' Hers, Different Class, and This Is Hardcore), each with a bonus disc of B-sides, demos and rarities. On 23 October 2006 a 2-CD set compiling all of Pulp's John Peel Sessions from 1982 to 2001 was released.
First reunion: 2011–2013
[edit]
In November 2010 it was announced that the Different Class line-up (Cocker, Banks, Doyle, Mackey, Senior and Webber) would be playing at the Wireless festival in London's Hyde Park and a Saturday slot at the Isle of Wight Festival in 2011.[36] In a message sent to the band's official mailing list on 1 January 2011, Cocker said the large amount of interest in the band's reunion had been "an inspiration," and that he was pleased with how rehearsals were going.[37]
The band announced 22 concerts between May and September 2011, taking place in Europe and Australia.[38] Pulp were one of the surprise special guests at Glastonbury Festival 2011 in June where they played on The Park stage on Saturday evening.[39][40] They performed at the Sziget Festival in Hungary on 10 August,[41] Way Out West Festival in Sweden on 13 August, and played as co-headliners to The Strokes at the Reading Festival and the Leeds Festival during the final weekend of August 2011. They headlined the Electric Picnic on 4 September, their last festival of the year. On 9 January 2012, the Coachella festival line-up was released, with Pulp listed as part of the line-up. Further dates were announced, including North and South America and a concert at the Royal Albert Hall in support of the Teenage Cancer Trust. Senior did not take part in the 2012 gigs.
In February 2012, It,[42] Freaks[43] and Separations[44] (the albums released by Fire Records) were re-issued. These editions came with bonus tracks, including "Death Goes to the Disco", "Dogs Are Everywhere" and "Sink or Swim".
Cocker told ShortList magazine in April 2012 that he was working on ideas for new Pulp songs,[45] but in November he told Q that the band had no plans to release new material and would be "cruising off into the sunset" at the end of the year, signalling a possible end to the reunion.[46]
The band played a one-off concert in their hometown of Sheffield in December that year, at the 13,500 capacity Motorpoint Arena[47] and made a previously unreleased track, "After You", available for download to those who had attended the concert. It was subsequently released to the general public in January 2013 via digital download. The song had previously only existed in demo form.[48] Their last performance was to promote the song on The Jonathan Ross Show on 9 February 2013.[49] The remixed version of "After You" by Soulwax later went on to be used in the 2013 video game Grand Theft Auto V as a track on the ingame radio station, Soulwax FM.
In May 2015, a music heritage plaque was unveiled at the venue of the band's first gig, The Leadmill, Sheffield. Band members Jarvis Cocker, Nick Banks, Steve Mackey, Candida Doyle and Mark Webber were present at the ceremony.[50]
Second reunion: 2023
[edit]
In July 2022, following speculation from a cryptic Instagram post, Cocker announced that the band would reunite for a series of concerts in 2023.[51] Nick Banks also tweeted confirming the announcement by saying "Hey folks, unsurprisingly it's has all gone a bit mental on here. Gig details will be revealed as and when. Stay calm, hug your #pulp records and dream of going mental sometime in 2023."[52]
The reunion was officially confirmed on 28 October 2022, with dates announced at Finsbury Park, TRNSMT, Latitude Festival as well as two homecoming shows at Sheffield Arena. Steve Mackey announced on his Instagram that he would not be taking part in the tour but stated; "Wishing Candy, Nick, Mark and Jarvis the very best with forthcoming performances in the UK and also an enormous thanks to Pulp's amazing fanbase, many of whom have sent me lovely messages today".[53] On 2 March 2023, the band announced that Mackey had died at the age of 56.[54][55]
For the 2023 reunion tour, the band were joined by Andrew McKinney on bass, Emma Smith on guitar and violin, and Adam Betts on keyboards, guitar, and percussion. The tour also featured a ten-piece string section called the Elysian Collective.[56][57] During this tour they also debuted two new songs "Hymn of the North" and "Background Noise". It is currently unknown if they are recording a new album.
Band members
[edit]
Timeline
[edit]
Discography
[edit]
Main article: Pulp discography
It (1983)
Freaks (1987)
Separations (1992)
His 'n' Hers (1994)
Different Class (1995)
This Is Hardcore (1998)
We Love Life (2001)
Awards and nominations
[edit]
Award Year Category Nominee(s) Result Ref. Brit Awards 1996 British Group Themselves Nominated [61] British Album of the Year Different Class Nominated British Single of the Year "Common People" Nominated British Video of the Year Nominated D&AD Awards 1996 Pop Promo Videos: Direction "Disco 2000" Graphite Pencil [62] Ivor Novello Awards 1996 Best Song Musically and Lyrically "Common People" Won [63] 1999 "A Little Soul" Nominated [64] 2017 Outstanding Song Collection Themselves Won [65] MTV Europe Music Awards 1996 Best Song "Disco 2000" Nominated [66] Best Group Themselves Nominated Best New Act Nominated MVPA Awards 1998 Best International Video "Help the Aged" Won [67] Mercury Prize 1994 Album of the Year His 'n' Hers Nominated [68] 1996 Different Class Won 1998 This Is Hardcore Nominated NME Awards 1996 Best Band Themselves Nominated [69] Best Live Act Won Best Video "Common People" Won Best Single Nominated "Sorted for E's & Wizz" Nominated Best Album Different Class Nominated 1997 Best Band Themselves Nominated 1999 Nominated [70] Best Album This Is Hardcore Nominated Best Single "This is Hardcore" Nominated 2012 Outstanding Contribution to Music Themselves Won [71] Best Live Band Nominated [72] Greatest Music Moment of the Year Nominated 2015 Best Music Film A Film About Life, Death And Supermarkets Won [73] Q Awards 1996 Best Live Act Themselves Won [74] 1998 Nominated Best Album This Is Hardcore Nominated 2012 Inspiration Award Themselves Won [75] Smash Hits Poll Winners Party 1996 Best Indie-Type Band Nominated [76]
Notes
[edit]
References
[edit]
Mark Sturdy, Truth & Beauty: The Story of Pulp (Omnibus Press, 2003) – comprehensive biography
Jean-Marie Pottier, Brit Pulp. La britpop selon Pulp, de Thatcher à Blair (Autour du Livre, 2009) – a French essay about the connections between Pulp and English popular culture of its time
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2024-04-09T00:00:00
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"I never knew that you'd get married I would be living down here on my own On that damp and lonely Thursday years ago…" Still from the video. Pulp's song "Disco 2000" from their 1995 album "Different Class" is a song about the singer Jarvis Cocker's childhood crush Deborah, but told through the lense of…
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https://secure.gravatar.com/blavatar/f6faaab041ddd067590c7a954e63ca8a76b452e8662c7a6506ea5a20f89e5583?s=32
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Byron's Muse
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https://byronsmuse.wordpress.com/2024/04/09/pulp-disco-2000-i-never-knew-that-youd-get-married-i-would-be-living-down-here-on-my-own/
|
“I never knew that you’d get married
I would be living down here on my own
On that damp and lonely Thursday years ago…”
Still from the video.
Pulp’s song “Disco 2000” from their 1995 album “Different Class” is a song about the singer Jarvis Cocker’s childhood crush Deborah, but told through the lense of adulthood. The song is based on real events from Cocker’s childhood; there was indeed a girl called Deborah who was popular and pretty, but had no interest in Cocker and didn’t notice him at all. In the song he fantasises about meeting her at some distant point in the future, in the year 2000, when they’re both grown ups. There is a wittiness and a sense of humour, a slight self-deprecation which are all always present in Pulp’s songs but there is also a tinge of sadness, especially as the song’s narrator is realising that his childhood crush is now married while he is single and lonely on that damp Thursday: “I never knew that you’d get married/ I would be living down here on my own/ On that damp and lonely Thursday years ago….” There is even a cute sort of desperation when he sings “Oh, what are you doing Sunday, baby?/ Would you like to come and meet me, maybe?/ You can even bring your baby…” He doesn’t even care that she is with somebody, as long as he can see her.
Stills from the music video.
It is as if in one moment you are a carefree teen sitting bored in school, fantasising what your adult life might be, and you blink and suddenly you are twenty-something and your peers are getting married and having children. Doors are closing, opportunities being limited. We all have a certain someone that we fancied back in high school, or even primary school and we may have had certain fantasies and now we may have the what-ifs. That interest may have been only one-sided, or both parties may have been too shy to act upon anything… Time passes and school finishes. We move on with our life and we forget about that person, but there is always a warm, pure feeling to the memory. And the memory is pure and warm precisely because nothing happened; if something did happen, then it would likely leave us disappointed, as most school-age ‘loves’ do. Something that could have been always has more charm than something that is. For those living in small towns such as myself the feeling is even stronger because there is less people to see and it is almost impossible to avoid certain people even if we want to. Someone that was a rebel-without-a-cause, sitting with you in the last row in biology class and cracking jokes is now delivering pizza and you pretend not to see them when you do see them. I guess we’ll never meet at the fountain by the road.
The lyrics of the song:
“Oh, we were born within an hour of each other
Our mothers said we could be sister and brother
Your name is Deborah (Deborah)
It never suited ya
And they said that when we grew up
We’d get married, and never split up
Oh, we never did it, although I often thought of it
Oh, Deborah, do you recall?
Your house was very small
With wood chip on the wall
When I came ’round to call
You didn’t notice me at all
And I said, “Let’s all meet up in the year 2000
Won’t it be strange when we’re all fully grown?
Be there two o’clock by the fountain down the road”
I never knew that you’d get married
I would be living down here on my own
On that damp and lonely Thursday years ago
You were the first girl at school to get breasts
And Martyn said that you were the best
Oh, the boys all loved you, but I was a mess
I had to watch them try and get you undressed
We were friends, that was as far as it went
I used to walk you home sometimes but it meant
Oh, it meant nothing to you
‘Cause you were so popular…
Oh, what are you doing Sunday, baby?
Would you like to come and meet me, maybe?
You can even bring your baby
Ooh ooh-ooh-ooh-ooh-ooh-ooh…”
*
The video for the song features a guy and a gal, played by models Jo and Patrick Skinny, who take time to get ready for a Saturday night disco and they both hope the other will also be there and they are both looking for a hook up. The video for “Disco 2000”, just like the video for the songs “Lipgloss” and “Common People” has that vibrant, artficial, retro aesthetic so typical for Pulp’s 1990s videos. Another thing I liked a lot about the video, apart from the garish, eye-candy, ’70s inspired aesthetics, is that it tells the tale almost in the style of a comic-book. If you pause the video every now and then, as I did to get screenshots for pictures for this post, you will notice that the the video is almost made out of pictures, a few seconds for each scene, and one after another and a story is told. There are even captions, unrelated to the song’s lyrics, which show us what the guy and the girl are thinking. It is interesting to see how they both want the other to notice them, but don’t want to appear to eager as well, so typical for love games. Jarvis Cocker did after all study fine art and film at Saint Martin’s College of Arts from 1988 to 1991 and aesthetic was important to him. I appreciate cleverness in lyrics and videos of rock songs, just as I appreciate art in various forms. This video is artistically interesting to me as any normal oil on canvas paintings would be.
*
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https://thehardtimes.net/lists/oy-guv-we-ranked-the-top-50-britpop-songs-of-the-1990s-because-this-is-a-phase-innit/3/
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en
|
Oy Guv, We Ranked the Top 50 Britpop Songs of the 1990s, Because This Is a Phase, Innit?
|
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"Nathan Kamal"
] |
2023-08-23T21:04:27+00:00
|
The '90s were the last good decade. Do you need proof? Just look at our list of the 50 best Britpop songs of the decade.
|
en
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The Hard Times
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https://thehardtimes.net/lists/oy-guv-we-ranked-the-top-50-britpop-songs-of-the-1990s-because-this-is-a-phase-innit/3/
|
20. The Verve “History”
Then there’s Richard Ashcroft of the Verve, who opens a song by stealing a string arrangement from John Lennon and lyrics from William Blake. It’s a miracle this isn’t the most pretentious song ever written, and is instead an epic sonic journey through misery, humanity, and drug addiction.
19. Manic Street Preachers “A Design for Life”
“A Design for Life” reportedly lifted Manic Street Preachers out of despair after bassist and spiritual heart of the band Richey Edwards went missing, which is funny for a song that references Joy Division, Nazi sloganeering, and has a chorus that goes “We don’t talk about love/ We only wanna get drunk/ And we are not allowed to spend/ As we are told that this is the end.”
18. Catatonia “Road Rage”
Welsh band Catatonia’s “Road Rage” has the single best, most ripping chorus that you’ve probably never heard. The lyrics are nonsense, and sometimes it feels like three different songs pressed together, but here’s the thing: all three songs fucking rock.
17. James “Laid”
We mentioned how Britpop is mostly about uncomfortable sexual situations and feeling like you’re a weirdo, right? That’s “Laid” in a nutshell, where every line like “This bed is on fire
With passionate love/ The neighbors complain about the noises above/But she only comes when she’s on top” lands like frustrated psychodrama with the best falsetto ever.
16. Pulp “Sorted for E’s & Wizz”
Jarvis Cocker is the kind of guy who was a sad old dude with a weird sense of humor even when he was in his 20s. “Sorted for E’s & Wizz” isn’t an anti-drug song, but it’s honest about the way that how cool everyone you met while high is… probably not that cool in a way few are. Plus “Keep on moving!”
15. Blur “There’s No Other Way”
Before it was the pseudo-intellectual, undeniably brilliant alternative to heavy-browed lad rock, Blur stirred the dying embers of baggy into an early Britpop classic. What’s baggy? Listen to the funky drummer beat and angular, psychedelic guitars of “There’s No Other Way” and you’ll figure it out.
14. Oasis “Champagne Supernova”
Oasis was never known for its sensitivity, grace, or ability to make it through an entire interview without breaking into violence. “Champagne Supernova” is the bleary-eyed exception to the rule, an indestructible jam for the ages with Paul Weller sitting in for the best guitar solo of the 1990s.
13. The Charlatans “The Only One I Know”
“The Only One I Know” happens when stoned Manchester dudes listen to Deep Purple, the Byrds, and the Supremes simultaneously and then stumble across musical instruments. It’s mysterious, kind of confusing, and a classic of the decade, fully transforming the remnants of Madchester into Britpop.
12. Suede “Beautiful Ones”
“Beautiful Ones” kicks off with Richard Oakes’ gloriously tangled guitar riff and descends into what Britpop does best: pat itself on the backhanded compliments. That’s a tortured metaphor, but terrible wordplay is what Britpop is all about, baby.
11. Pulp “Disco 2000”
Remember when the year 2000 was a long way in the future? Remember how school reunions seemed like they could be the place to finally say the things you always wanted to that one special someone? Remember how she got married and has a kid and you’re just kind of sad and alone, but maybe you could make it work? “Disco 2000” does.
10. Manic Street Preachers “Motorcycle Emptiness”
Manic Street Preachers were all about class warfare and rejection of consumerism, and their first album, “Generation Terrorists,” was not afraid to talk about it. Mix S.E. Hinton’s “The Outsiders” with some critique of feudal serfdom and some of James Dean Bradfield’s best vocals, and you’ve got a hit.
9. Blur “Girls & Boys”
“Girls & Boys” was inspired by a deep spiritual experience Damon Albarn and his then-girlfriend, Elastica singer Justine Frischmann, had in India. Just kidding, this meth-fueled top five dance number was inspired by watching people shamelessly fuck in Ibiza in every combination imaginable.
8. Elastica “Connection”
Yeah, yeah, yeah. Elastica ripped off Wire’s “Three Girl Rhumba” so hard they ended up getting taken to court. That doesn’t mean Justine Frischmann’s supremely confident belting vocals and the grinding riff don’t make this one of the most iconic Britpop songs of the entire genre.
7. Oasis “Live Forever”
Nirvana had a B-side titled “I Hate Myself and Want to Die” that pissed off Noel Gallagher so much that he wrote the most beautiful song a son has ever written for his mother. It might be slight exaggeration to call this song a battering ram that shattered the remnants of grunge with its unwavering confidence, but only slightly.
6. Pulp “Do You Remember The First Time?”
Of course Jarvis Cocker wrote a hit song about how bad he was at sex when he lost his virginity. Of course he did. Could there be anything more quintessentially Pulp than an incredibly impassioned song with a tight hook about being nostalgic for how much of an idiot you were in the past?
5. Primal Scream “Loaded”
Perhaps more than anything else, Britpop was a near-perfect remix of 1960s guitar rock, Northern soul, Madchester, and arrogance. That explains why Primal Scream’s “Loaded,” a song that producer Andrew Weatherall essentially tortured out of the band’s failed single “I’m Losing More Than I’ll Ever Have” sounds so eternally fresh and new, even decades later. It’s like nothing that came before it in rock or dance music, yet it reminds you of all of it.
4. Blur “End of the Century”
“End of the Century” is the most British of all things: a melancholy ballad about aging, how everyone is having sex except you, the trials of living with the person you’re pretty sure you love, and how the future always seems more important than what you’re doing right now. All that and a clarinet solo.
3. The Verve “Bitter Sweet Symphony”
We’re not going to lie: “Bitter Sweet Symphony” probably has the best music video ever made, and it’s nothing but Richard Ashcroft not giving a shit who he walks into. But the music manages to even transcend that, a celestial triumph of strings, percussion, and Ashcroft’s philosophically stoned solipsism. It’s so good that it’s no wonder that the band got fucked over because of it.
2. Oasis “Don’t Look Back in Anger”
“Don’t Look Back in Anger” is the perfect Oasis statement. It’s an anthem that listeners can feel in their soul and know what it means, even if Noel Gallagher doesn’t. It’s the shameless homage to John Lennon and doesn’t give a fuck if you think it’s theft. It’s joyous, eternal, and the sheer distillation of being young, stoned, and optimistic in 1996.
1. Pulp “Common People”
The social conscience of Britpop is not often commented on, but “Common People” makes no bones about despising the rich, even if they’re a hot Greek art student. The pulse of Candida Doyle’s synthesizer and the song’s absurdly simple, unmistakeable hook combined with the righteous resentment, hopelessness, and, ultimately, pride of Jarvis Cocker’s vocal make this one the best of Britpop, the single glorious moment that mixed weird sex, class consciousness, rock n’ roll, and dumb young confidence into a perfect whole.
|
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https://forums.stevehoffman.tv/threads/90s-britpop-appreciation-thread.685732/
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90's Britpop appreciation thread
|
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This genre spawned some of my favorite albums. To name a few:
Blur - Parklife
Elastica - Elastica
Supergrass - I Should Coco
Oasis - Definitely Maybe...
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/90s-britpop-appreciation-thread.685732/
|
This genre spawned some of my favorite albums. To name a few:
Blur - Parklife
Elastica - Elastica
Supergrass - I Should Coco
Oasis - Definitely Maybe
Suede - Suede
Pulp - Different Class
To me, these albums stand the test of time and I will always view them as classics. Anybody else a fan of the genre?
Same here, loved and still love Britpop. So many good albums during that period from @ '93-'97 plus/minus a year or so.
Verve
Super Furry Animals
Ocean Colour Scene
Dodgy
Portishead
Ride
Hurricane #1
Stereophonics
Radiohead
Some might not be "Britpop" but the music coming off of that island was better than anything else at the time.
It's amazing how many quality albums were released in such a short period of time.
If you want to know what it's like being young and being into punk and Star Wars, take a listen to "1977" by Ash. I've always thought it has such a great sound, massive in the right places.
I used to own those compilations! Great collections.
Having lived through it, and being a target market (the Blur vs Oasis thing happened the week of my 16th birthday), I can confirm that it was mostly terrible.
The amount of albums that still stand up today are woefully few compared to the amount of garbage (not including Garbage) being thrown out on a weekly basis and hyped to eternity.
I remember Oasis' "Don't Look Back In Anger" being played over and over during the coverage of the 1996 European Football Championship (which happened to be in England) on German TV.
The official Championship song was The Lightning Seeds' "Three Lions on the Shirt", but over here everybody was singing along to Oasis and the "Morning Glory" album went straight into the Top 10 and Oasis have got a strong German fanbase to this day. Even on their final tour they played to sold out crowds over here. I have seen them live four times myself.
And the best thing was: the German team won the 1996 Euro! Sorry to our English friends
Irony; I bought a CD single of Lightning Seeds' 'Sugar-Coated Iceberg' which had 'Three Lions' as a b-side (along with covers of 'SF Sorrow Is Born' and 'Porpoise Song') in a shop in Germany.
Whereas I bought the 3 CD reissue of "Be Here Now" at Fopp in Covent Garden last year!
I've studiously avoided buying any of these though I quite like Pulp. Oasis too badly recorded for me to bother with. The others I found quite annoying from the singles constantly playing at the time. 'Parklife' is an annoying earworm. There was much better material that would loosely fall into Brit Pop from this period such as early Radiohead, The Verve and PJ Harvey.
Sorry, but this whole 'Britpop' thing struck me as a total press/music industry invention...there was no britpop genre or movement at the time.
You could argue there were a few decent UK bands around at the time, but I think you could say that at any time...you can't really say any of them were a particular genre, other than maybe 'pop-rock'.
I say the whole Britpop phenomenon, was a non-existant media created Yawn-fest.
The 'Britpop' era actually passed me by in the 90's. I was more into Nirvana, Smashing Pumpkins and various grunge bands at the time. A couple of years ago I started listening to (revisiting) the so called 'Britpop' classics and now they are some of my favorite rock albums. I actually feel they are far superior to the American 90's releases of the day.
That is Pop not Britpop. It's what ultimately killed Britpop or pop/rock as a mainstream chart genre. Frankly I put the end as coinciding with the rise of The Spice Girls. After that the industry was only interested in artificially created boy/girl bands for some time. Some rock bands developed into more sophisticated album bands such as Radiohead. Dido is well post Britpop and comes from a dance music background.
I suppose if you lived through that time I can understand if you would be completely sick of it. Because I am a 'late bloomer' with regards to the genre maybe I am hearing the music with new ears
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https://slouchingtowardsthatcham.com/2016/07/09/a-song-for-saturday-4-disco-2000-pulp/
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en
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A song for Saturday #4: Disco 2000 – Pulp
|
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2016-07-09T00:00:00
|
Blur and Oasis may have been the focus of 1995's hyped 'Battle of Britpop' but my favourite song from that year came from Pulp - and it's a track with a rich back-story of its own. Disco 2000 was the third of four top ten singles to come from the Sheffield band's most successful album, Different Class (the…
|
en
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Slouching towards Thatcham
|
https://slouchingtowardsthatcham.com/2016/07/09/a-song-for-saturday-4-disco-2000-pulp/
|
Blur and Oasis may have been the focus of 1995’s hyped ‘Battle of Britpop’ but my favourite song from that year came from Pulp – and it’s a track with a rich back-story of its own.
Disco 2000 was the third of four top ten singles to come from the Sheffield band’s most successful album, Different Class (the others being the anthemic Common People, the double A-side Sorted For E’s & Wizz/Mis-Shapes and Something Changed).
A tale of unrequited young love about a boy who falls for an unobtainable girl named Deborah, Disco 2000‘s lyrics were based on singer Jarvis Cocker’s childhood friend Deborah Bone, who moved away from Sheffield aged ten.
Bone, a nurse, died from cancer in early 2015 aged 51, just hours before she was awarded an MBE for services to children and young people.
The song’s video features Cocker appearing only in the background on a TV screen and as a cardboard cutout. It tells the story of a young couple hooking up at a disco for a one-night stand.
Or was it just a one-night stand? In real life the couple – and friends of the band – Pat and Jo Skinny, are married. Jo also attended Saint Martins College in London, where the unnamed Greek female subject of Common People also studied.
Small world, eh?
Finally, is it just me or is Disco 2000’s main guitar riff lifted from the classic 1980s Laura Branigan song Gloria?
———-
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https://www.express.co.uk/entertainment/music/1292280/Britpop-quiz-questions-and-answers
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Britpop quiz questions and answers: Test your knowledge on Britpop – can YOU beat the quiz
|
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"Jenny Desborough"
] |
2020-06-07T07:24:00+01:00
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BRITPOP was a pop phenomenon which came about in the 1990s - but can you beat our quiz on the music genre?
|
en
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https://cdn.images.express.co.uk/favicon.ico
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Express.co.uk
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https://www.express.co.uk/entertainment/music/1292280/Britpop-quiz-questions-and-answers
|
8. Where was the greyhound stadium on the cover of Blur's Parklife, a stadium which is now closed?
9. Which song’s music video featured Supergrass riding around on bicycles? (Hint: Steven Spielberg liked it so much he almost made a TV show about them.)
10. Richard Ashcroft is the frontman of which Britpop band?
11. Blur frontman Damon Albarn launched a side project with artist Jamie Hewlett of a “virtual band” consisting of four animated members – what is it called?
12. What are the opening lyrics to Elastica’s song connection?
13. What is the name of the final Oasis album, released in 2008?
14. How many Brit Awards has Blur won in their entire career?
15. The Verve have been twice nominated for a Grammy Award, but for the same song – which song was it?
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https://simple.wikipedia.org/wiki/Disco_2000_(song)
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Disco 2000 (song)
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https://simple.wikipedia.org/static/favicon/wikipedia.ico
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https://simple.wikipedia.org/static/favicon/wikipedia.ico
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2023-09-29T22:25:03+00:00
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/static/apple-touch/wikipedia.png
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https://simple.wikipedia.org/wiki/Disco_2000_(song)
|
"Disco 2000"Single by Pulpfrom the album Different Class B-side"Ansaphone"Released27 November 1995 ( )GenreBritpopLength
4:33 (album version)
4:51 (7-inch mix)
LabelIslandSongwriter(s)
Jarvis Cocker
Nick Banks
Steve Mackey
Russell Senior
Candida Doyle
Mark Webber
Producer(s)
Chris Thomas (album version)
Alan Tarney (single, 7-inch remix)
Pulp singles chronology
"Mis-Shapes" / "Sorted for E's & Wizz"
(1995) "Disco 2000"
(1995) "Something Changed"
(1996)
Alternative cover
"Disco 2000" is a 1995 song by English alternative rock band Pulp and is the third single from their fifth studio album Different Class. It went to number 7 in the United Kingdom, number 8 in Scotland and Hungary, number 35 in Australia, number 2 in Iceland, number 14 in Austria and number 13 in Ireland.
All lyrics written by Jarvis Cocker, all music composed by Jarvis Cocker, Nick Banks, Steve Mackey, Russell Senior, Candida Doyle and Mark Webber.
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https://forums.stevehoffman.tv/threads/your-top-3-90s-britpop-songs.967366/
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en
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Your top 3 90s Britpop songs
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Listening to the below compilation. It's a great overview of Britpop. For those who want to delve further I suggest all the volumes in "The Best Album...
|
en
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/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/your-top-3-90s-britpop-songs.967366/
|
Listening to the below compilation. It's a great overview of Britpop. For those who want to delve further I suggest all the volumes in "The Best Album In the World " and "Shine" series but this one has all the highlights once you get past the boring Wonderwall (the worst Britpop song in my view).
Britpop At The BBC
Box Set
Track Listings
Disc: 1
1. Wonderwall - Oasis
2. Parklife - Blur
3. Common People - Pulp
4. Lucky Man (2004 Remastered Version) - The Verve
5. Slight Return - The Bluetones
6. Alright - Supergrass
7. The Changing Man - Paul Weller
8. The Day We Caught The Train - Ocean Colour Scene
9. Inbetweener - Sleeper
10. Wide Open Space - Mansun
11. Going For Gold - Shed Seven
12. Regret - New Order
13. Daydreamer - Menswear
14. Staying Out For The Summer - Dodgy
15. Road Rage (Radio Edit) - Catatonia
16. Olympian - Gene
17. Brimful Of Asha (Norman Cook Original Radio Edit Remix) - Cornershop
18. Something For The Weekend - The Divine Comedy
19. Female Of The Species - Space
20. Lovefool - The Cardigans
21. You're Gorgeous - Babybird
Disc: 2
1. Animal Nitrate - Suede
2. Creep (Radio Edit) - Radiohead
3. Girl From Mars - Ash
4. She Said - Longpigs
5. Connection - Elastica
6. Single Girl - Lush
7. Motorcycle Emptiness - Manic Street Preachers
8. Lazarus - The Boo Radleys
9. Fine Time - Cast
10. King Of The Kerb - Echobelly
11. Lucky You - Lightning Seeds
12. You & Me Song - The Wannadies
13. Smile - The Supernaturals
14. Sparky's Dream - Teenage Fanclub
15. There She Goes - The La'S
16. Rocks - Primal Scream
17. Sleep - Marion
18. Tattva - Kula Shaker
19. North Country Boy - The Charlatans
20. Punka - Kenickie
21. Place Your Hands - Reef
22. U16 Girls - Travis
23. 12 Reasons Why I Love Her - My Life Story
Are House of Love "Britpop"? If so, Shake and Crawl.
Are the Trash Can Sinatras "Britpop"? If so, Obscurity Knocks.
Otherwise:
Manic Street Preachers, Little Baby Nothing (with Motorcycle Emptiness right behind)
Pulp, Disco 2000
...
I know a few of the songs listed, I have material by quite a few of the acts but can't place their songs at the moment.
|
||||
1641
|
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|
1
| 34 |
https://www.telegraph.co.uk/books/authors/the-record-that-ended-britpop-pulp-this-is-hardcore/
|
en
|
The album that buried Britpop – and told Tony Blair to get stuffed
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2024-02-21T08:20:00+00:00
|
Jarvis Cocker’s aggressive, alienating album was a musical ‘suicide note to the listener’ which killed the Cool Britannia dream dead
|
en
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The Telegraph
|
https://www.telegraph.co.uk/books/authors/the-record-that-ended-britpop-pulp-this-is-hardcore/
|
All pop culture movements have a defining moment when the magic disappears and the zeitgeist evaporates. The hippy dream of the Sixties ended when concertgoer Meredith Hunter was killed by a Hell’s Angel at a Rolling Stones concert at California’s Altamont Speedway in 1969. And punk died in its pure form when Magazine’s Howard Devoto turned up on stage in Manchester in 1977 with a keyboard.
But what about Britpop, the mid-Nineties guitar band scene characterised by cheery anthems and retro leanings? In 1997 we were Cool Britannia, with Vanity Fair proclaiming in a cover feature that London Swings! Again!. But within a year, Britpop’s fizz had gone flat and we were crippled by pre-Millennium angst.
Numerous albums are credited with killing Britpop. Blur’s self-titled LP of February 1997 turned its back on the mockney knees-up of hits Parklife and Country House and was the Essex band’s version of a scuzzy grunge album. Radiohead’s OK Computer, released three months later, sounded like a UFO crashlanding into our CD players. And Oasis’s Be Here Now, released in August 1997, was a bloated folly recorded under the influence of vast quantities of cocaine that lacked the sharpness, tunes and wit of previous albums.
But a new book argues that it was a different album that really buried Britpop. This is Hardcore by Pulp is one of the bleakest albums by a mainstream band in the history of pop music. Released in March 1998 by Jarvis Cocker’s Sheffield indie misfits, it included no discernible hit singles and was preoccupied with themes of paranoia, growing old, fame, drugs and pornography. It opened with a song called The Fear and ended with a 15-minute track called The Day After the Revolution.
This is Hardcore is a seedily brilliant album, like a musical dark night of the soul. But coming after Pulp’s Britpop smash hits of Common People and Disco 2000, it was a commercial disaster, with first-week sales of around 50,000 compared to predecessor Different Class’s 133,000 sales. The Fear was “a suicide note to the listener” while the “whole record was a cry for help”, says Jane Savidge, the band’s PR representative at the time and author of the book on the album. “Britpop might have been tailing off anyway but this was the final nail in the coffin,” she says. Cool Britannia had become Cruel Britannia, with Pulp providing the fatal blow.
Reading Savidge’s book, it’s clear that This is Hardcore was a deliberate attempt by Cocker and Pulp to torch any association with the scene through which they made their name. “I think this was Jarvis trying to destroy his career. And in doing so, Pulp accidentally destroyed Britpop,” she says. This is Hardcore’s lead single was a slow song about pensioners called Help the Aged, hardly a rallying cry to get the youth moshing in the aisles (it still reached number eight in the singles chart). “Who else would have possibly smuggled a song about becoming elderly into the top ten? It was a record almost designed to fail. The musical equivalent of Reggie Perrin’s Grot shops. Everyone was expecting Common People Mark II,” says Savidge.
Another Britpop band, and members of the so-called Camden Scene, were Menswear. Former drummer and current BBC 6 Music presenter Matt Everitt tells me that Pulp were “constantly one step ahead”. While other Britpoppers blithely partied on, the band were calling time. “While everyone else was pulling the curtains shut, scouring the kitchen for dusty bottles of holiday liqueur and refusing to call it a night, This is Hardcore was the sound of indie music’s morning after approaching with awful inevitability,” he says. “It also made the cheery ‘Hey anyone can do this!’ Britpop mindset look pretty naïve in the cold light of day.”
Pulp’s album encapsulated a creeping malaise for many Nineties music stars: burnout, the emptiness of celebrity and the vacuousness of the Swinging Britain tag. It’s worth remembering that most Britpop bands had always been outsiders on the fringes of the music scene, and they’d suddenly become royalty. There was an innate mismatch. This is Hardcore’s title track, therefore, was a crawling orchestral number that used hardcore pornography as a metaphor for the naked and exploitative brutality of fame. The song I’m A Man parodied the prevailing lad culture, while Party Hard took aim at mindless excess. One by one Cocker was slaying the era’s sacred cows. Savidge knew she had a PR job on her hands when the first magazine cover of the This is Hardcore campaign, in Select magazine, read: “Death, porn, heroin… what’s eating Jarvis Cocker?”
The year zero for This is Hardcore occurred on the night of February 19 1996 at the Brit Awards at London’s Earls Court exhibition centre, Savidge explains. It was here, when Britpop was in its pomp, that Cocker famously jumped on the stage as Michael Jackson was performing the saccharine Earth Song and mooned at the crowd. The incident made Cocker a tabloid sensation and put rocket-boosters under his fame. He hated it. “Melody Maker said that Jarvis had become the fifth most recognisable man in Britain after [then-Prime Minister] John Major, Will Carling, Frank Bruno and Michael Barrymore,” says Savidge. The singer retreated and This is Hardcore was the result.
But it is perhaps a song that didn’t make it onto the original album that best explained the turning tide – and ultimately led to Britpop’s demise. Cocaine Socialism (which did make it onto a later deluxe re-release of This is Hardcore) was a Pulp track that took aim at politicians jumping on the Britpop bandwagon. New Labour leader Tony Blair actively wooed musicians when he was in opposition in the mid-Nineties. Blur’s Damon Albarn met Blair, John Prescott and Alastair Campbell in the Houses of Parliament in the spring of 1995, according to John Harris’s book The Last Party. Cocker was also courted, says Savidge, when he travelled to New York to stay incognito in the Paramount Hotel over Christmas 1996. He’d gone there to escape.
“Jarvis decamped to New York when Tony Blair’s office tracked him down to the Paramount to ask for his support for the forthcoming Labour campaign, which just annoyed him for being courted for all the wrong reasons,” says Savidge. Cocker, according to her book, “told them to p-ss off”.
So hyped were all Britpoppers that Creation Records founder Alan McGee, who discovered Oasis, was even approached by actual royalty. “Charles invited me for supper three times at Buckingham Palace. Perhaps Blair had told him what fun I was,” he wrote in 2013. According to Mike Smith, the A&R veteran who signed Blur, the Labour party was “very aggressively” trying to get bands onside. “They were being used as aesthetic window dressing for the opportunity to make Labour seem more in touch with a younger audience,” he tells me.
Of course, all this was more palatable when New Labour was still the underdog opposition to Major’s governing Conservative Party. But after Blair swept to power in May 1997, he became the establishment. Although Oasis’s Noel Gallagher attended a Downing Street reception that July, the tide soon turned against Blair, particularly when his New Deal to get people into work seemed to initially overlook the needs of musicians. “Ever had the feeling you’ve been cheated?” ran an NME cover in March 1998 next to a picture of Blair. The love-in was over.
Cocker was in many ways the lightning rod for everything that brought Britpop and Cool Britannia to an end. There were other complicating factors, of course, but This is Hardcore sounded the era’s death knell. It exemplified what happens when a scene which was once underground becomes mainstream – and is exploited for all it’s worth. What’s interesting is how Britpop’s major players still detest the language of the time. A few years ago I interviewed artist Stanley Donwood, a key member of Radiohead’s camp who designs all their album sleeves and was there at the time. He remained utterly scathing about the movement. “Cool Britannia,” he said, his voice dripping with sarcasm. “That went well, didn’t it?”
Pulp’s This is Hardcore by Jane Savidge is published on March 7 by Bloomsbury
|
||||
1641
|
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0
| 54 |
https://themusictrunk.com/blogs/culture/a-trip-down-memory-lane-the-nostalgic-90s-and-the-britpop-scene
|
en
|
Britpop Brilliance: Iconic Bands, Fashion and Manchester - The Nostalgic 90s
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2024-04-21T13:22:53+00:00
|
Explore the iconic Britpop era of the 90s, from legendary bands to fashion trends, and Manchester's pivotal role in shaping music and culture.
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en
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The Music Trunk
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https://themusictrunk.com/blogs/culture/a-trip-down-memory-lane-the-nostalgic-90s-and-the-britpop-scene
|
If you grew up in the 90s, chances are you have fond memories of the music scene that dominated the UK and beyond. Britpop, as it was called, was a cultural phenomenon that brought back the glory of British guitar pop and rock, influenced by the likes of The Beatles, The Kinks, The Who, David Bowie and more. Britpop bands were known for their catchy melodies, witty lyrics, charismatic personalities and distinctive fashion sense.
In addition to the musical influences that shaped Britpop, this iconic era was characterised by a unique blend of rebellion and nostalgia. Emerging in the aftermath of the grunge movement, Britpop offered a refreshing alternative, celebrating a sense of national pride and identity. Bands like Oasis, Blur, and Pulp not only dominated the airwaves but also became symbols of a generation's spirit. The rivalry between Oasis and Blur, epitomised by the infamous "Battle of Britpop," added a theatrical element to the scene, captivating fans and fuelling the media frenzy.
Creator: Roger Sargent
Copyright: EMPICS Entertainment
Beyond the music, Britpop extended its influence to the fashion and lifestyle of the time. Union Jack flags adorned clothing and album covers, while the distinctive "Cool Britannia" ethos emerged, encapsulating a renewed sense of British coolness and confidence. Britpop became a cultural movement, influencing everything from fashion trends to the way people perceived British identity.
The Bands That Made Britpop a Thing
Britpop was not a unified genre, but rather a diverse collection of bands that shared some common elements. Some of the most successful and influential bands were:
Oasis: I mean do they really need an introduction? The Gallagher brothers, Liam and Noel, were the poster boys of Britpop, with their swagger, attitude and rivalry. Their songs, such as "Wonderwall", "Don't Look Back in Anger" and "Champagne Supernova", were anthems for a generation. Oasis sold over 70 million records worldwide and became one of the most popular bands of all time.
Blur: Oasis' main rivals, Blur were led by Damon Albarn, who later formed Gorillaz. Blur's music ranged from the cheeky pop of "Parklife" and "Girls & Boys" to the more experimental sounds of "Song 2" and "Beetlebum". Blur won multiple awards and influenced many indie bands that followed.
Pulp: Fronted by the charismatic Jarvis Cocker, Pulp were known for their witty and socially conscious lyrics that reflected the lives of ordinary people. Their songs, such as "Common People", "Disco 2000" and "Babies", were catchy and clever. Pulp became one of the most critically acclaimed bands of the 90s.
Suede: Often considered the pioneers of Britpop, Suede were led by Brett Anderson, who had a distinctive voice and style. Suede's music was glamorous and edgy, with songs like "Animal Nitrate", "The Drowners" and "Trash". Suede won the Mercury Prize in 1993 and influenced many other bands.
Other notable Britpop bands include The Verve, Supergrass, The Charlatans, Ash, Elastica, Embrace, Stereophonics and many more.
Creator: Sylvia Patterson
Copyright: The Standard
The Fashion and Adidas Brand
Britpop was not only about music, but also about fashion. Britpop bands had a distinctive look that combined elements of mod, glam, punk and casual styles. Some of the common features were:
Parkas: The long green coats that were popularized by Oasis and Liam Gallagher in particular. Parkas were originally worn by mods in the 60s and became a symbol of Britpop coolness.
Bucket hats: The floppy hats that were worn by many Britpop stars, such as Liam Gallagher, Richard Ashcroft and Tim Burgess. Bucket hats were also associated with rave culture and football fans.
Adidas: The German sportswear brand that became synonymous with Britpop fashion. Many Britpop stars wore Adidas clothing and footwear, such as tracksuits, trainers and t-shirts. Adidas also sponsored some Britpop bands and events, such as Oasis' Knebworth concerts in 1996.
Union Jack: The flag of the United Kingdom that was used as a motif by many Britpop bands and fans. The Union Jack was seen as a symbol of pride and patriotism for British culture and music. Some examples are Geri Halliwell's famous dress at the 1997 Brit Awards, Noel Gallagher's guitar and Liam Gallagher's coat.
How Manchester Was Synonymous to This Era
Manchester was one of the epicenters of Britpop, as it was home to some of the most influential bands and venues of the era. Manchester had a rich musical history, dating back to the 80s with bands such as Joy Division, New Order and The Smiths. In the early 90s, Manchester was also known for its rave scene and the Madchester movement, which featured bands such as The Stone Roses, Happy Mondays and The Charlatans.
Manchester's influence on Britpop was evident in several ways:
Oasis: Oasis were formed in Manchester in 1991 and became one of the most successful bands of all time. Oasis' music was influenced by Manchester's musical heritage, such as The Beatles, The Stone Roses and The Smiths. Oasis also played some of their most iconic gigs in Manchester venues, such as The Boardwalk, where they were discovered by Alan McGee; Maine Road Stadium, where they played two sold-out shows in 1996; and the GMEX Centre, where they performed their last UK gig in 1997.
The Haçienda: The legendary nightclub that was opened in 1982 by Factory Records and New Order. The Haçienda was one of the most influential venues in the world, hosting some of the most groundbreaking acts and events of the 80s and 90s, such as The Smiths, New Order, The Stone Roses, Happy Mondays, The Chemical Brothers and many more. The Haçienda was also a key place for the rave scene and the birthplace of acid house music. The Haçienda closed in 1997 and was demolished in 2002, but its legacy lives on.
The Britpop Now Show: A special edition of the BBC's Later... with Jools Holland that was broadcast in 1995. The show featured some of the most prominent Britpop bands of the time, such as Blur, Pulp, Supergrass, Elastica and Menswear. The show was filmed at the Manchester Apollo and was hosted by Manchester native Steve Coogan, who played his famous character Alan Partridge.
Britpop was a defining moment in British music and culture, and Manchester played a vital role in it. Manchester's musical scene continues to thrive and produce new talents, such as The Courteeners, The 1975 and Blossoms.
As the curtain closed on the Britpop era, its impact endured, leaving an indelible mark on music and culture. While the sounds may have evolved and the fashion trends shifted, the spirit of Britpop continues to inspire generations, reminding us of a time when music, style, and a sense of rebellion intertwined to create something truly special. And as Manchester's musical legacy lives on, echoing through the streets and venues, Britpop remains a cherished chapter in the ever-evolving story of British music history.
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1641
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https://www.chosic.com/similar-songs/disco-2000-by-pulp/
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en
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Songs Similar to Disco 2000 by Pulp
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2022-11-17T22:18:58+00:00
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Discover songs like Disco 2000 by Pulp and generate your dream playlist on Chosic!
|
en
|
Chosic
|
https://www.chosic.com/similar-songs/disco-2000-by-pulp/
|
Disco 2000 is a Rock song by Pulp, released on October 30th 1995 in the album Different Class / Deluxe Edition. If you like Disco 2000, you might also like Easy Money by Johnny Marr and Jacqueline by The Coral and the other songs below ..
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1641
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dbpedia
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3
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https://redmuzik.wordpress.com/2014/03/03/britpop-manufactured-or-inspired/
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en
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Britpop – Manufactured or Inspired?
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2014-03-03T00:00:00
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The current rumours about Oasis reforming have inspired me to reflect on Britpop and the influence it had on the British music scene. Firstly, it is important to acknowledge that at least in part Britpop was a manufactured phenomenon. The term was first used by music journalist, John Robb and it wasn’t genre specific at…
|
en
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https://s1.wp.com/i/favicon.ico
|
THE PLAY-OUT GROOVE
|
https://redmuzik.wordpress.com/2014/03/03/britpop-manufactured-or-inspired/
|
March 3, 2014
The current rumours about Oasis reforming have inspired me to reflect on Britpop and the influence it had on the British music scene.
Firstly, it is important to acknowledge that at least in part Britpop was a manufactured phenomenon. The term was first used by music journalist, John Robb and it wasn’t genre specific at the time. However, as soon as somebody put a label on something it tends to take on a life of its own.
Please note: There were lot of bands on the Britpop scene, far too many to include here and so I’ll just stick to the ones everybody seems to agree played the largest part in it. If you think there is a band I should include please add it to the comments section below. By the way, Britpop was really about bands rather than solo artists.
Roots Of Britpop
Musically journalists largely claim that Britpop’s origins lie the Camden Town, London scene in the early 1990s but its roots are far deeper than that. It is true that some of the major players; Blur, Lush, Elastica and Pulp were in the Camden scene, but this doesn’t into account what inspired them. Britpop didn’t just happen – it took a long time to manifest.
In reality Britpop began as a consequence of the 1980s independent record scene. The bands and artists who inhabited the Indie Charts of the time have since been referred to as the C86 generation. C86 – for those who don’t know – was an influential cassette compiled by the NME in 1986 featuring many of the leading artists from the indie charts of that year. This compilation was not definitive, however; it is limited to artists who could be contractually included and some of the most influential artists of the time are missing, for example; The Smiths. Furthermore, one of the most successful independent labels of the time was Stock, Aitken and Waterman but, owing to its perceived crass commerciality, it was also left out. In any case, it didn’t really fit in with the tastes of the NME’s readership.
Most of the key players in Britpop admitted that they were hugely indebted to The Smiths. Rough Trade’s success with the band demonstrated to the major labels of the time that ‘Indie’ could artists could bring in good business. Independent labels in the 1980s had largely been the preserve of ‘underground’ music, some of which didn’t seem commercially, or even musically, all that ambitious but The Smiths didn’t seem to fit into that category at all. They leaped to the top of the Indie Charts with every release and were even a very successful Top 40 band. They seemed oddly out of place in the Now That’s What I Call Music compilations and they were now steadily being joined by other Indie bands like The Housemartins and The Primitives.
One of the biggest challenges independent labels had always faced had been distribution, but they had managed to overcome this by clubbing together to form a kind of collective, known as The Cartel. By doing this they could at least ensure they had some of the same clout as the majors by putting their records in some of the shops were Gallup put together the charts. Even so, having a successful band could be a mixed blessing for a major label; keeping with demand while still paying the bills could be hard and even potentially lead to bankruptcy.
The biggest game-changer of all was Rave and dance music, particularly when it began cross-poillination with Indie bands. Since bands on independent labels were still at ‘street level’, they were still in touch with what was happening in the clubs. Rave – and ecstasy – swept through the whole music scene in the late 80s and caught the imaginations of everybody who came into contact with it. For a short time, Indie bands and their labels were better placed than those on major labels to take advantage of it, at least with more authentic-sounding results. Bands like Pop Will Eat Itself, The Shamen, The Happy Mondays and The Stone Roses, and so on were all signed to independent labels. It didn’t take the majors all that long to catch on though, and before the end of the 1980s independent labels were being bought out by them, some kept a limited amount of A&R control but others just existed purely as logo. Many labels just disappeared entirely.
By the 1990s major labels had learnt many lessons from the 1980s. The biggest of all was that there was now a generation of people who had had their tastes – even their identities – formed by the previous decade’s counter-culture. What’s more this had happened while they were attending college and university, so these were now people with potential spending power and influence. Some of them were even writing for the music press, promoting gigs and in charge of booking artists for TV shows.
Britpop Arrives
What do you think of when you think of Britpop? I doubt it is Goldie, The Chemical Brothers or Tricky. Yet all of these were artists were key parts of the scene and were hugely influential in it. However, Britpop has now come to mean union-jack painted guitars, Blur versus Oasis, Damon Albarn and Justine Frischmann, Cool Britannia, bands with floppy fringes…
Indie used to mean Independent, which could mean any style of music. Thanks to Britpop, Indie is now a musical genre that even Coldplay occupy despite having always been signed to a major label and effectively a corporate rock act. Indie is now a specific sound; guitar-oriented without necessarily being ‘rock’ per se, quite jangly or angular, generally white and either 60s or post-punk.
This blueprint was formed had already been formed by C86 and, indeed, the NME had a large part to play in promoting Britpop, although the most definitive publication was Select magazine. Music journalists had become bored by the prevailing music scenes; grunge was too American and depressing (particularly following Kurt Cobain’s suicide) and the British shoegazing bands (My Bloody Valentine, Ride, Slowdive, for example) were also rather downbeat and insular. They were looking for something more upbeat, energetic and positive. The darlings of the British music press had been The Stone Roses but their career seemed to have stalled indefinitely; there had been no new releases form them since 1989 apart from remixes of old songs. Another band, The La’s, had looked like contenders but after one great album had also become inactive.
When Suede and Blur emerged they fitted the bill. However, early Blur tracks weren’t too promising being heavily reminiscent of the Madchester-inspired ‘baggy’ sound, by now falling out of favour. Suede seemed to arrive fully-formed though; there was a distinct Smiths influence; the singer was androgynous, Bowie-esque; the guitarist had a unique, powerful style and the whole package came across as dangerous and transgressive. Suede had the music press salivating and – not only that – they were a commercial prospect too. Even Morrissey (who was still the doyen of the music press at this time) attended Suede’s shows. That sealed the deal.
What music journalists particularly liked about Suede is their archetypal Britishness. The band was influenced by British music they could identify with and cite; Bowie, The Smiths, glam and furthermore their lyrics reflected upon the experience of British suburban life. They also signed to a British independent label, Nude. Tellingly, however, Nude – although independent – were effectively a subsidiary of Sony by this time. Suede were not only British, they were as English as rain.
Nothing demonstrates how incestuous the Britpop scene was more than the fact that when Justine Frischmann’s relationship ended with Suede singer Brett Anderson, she began dating Blur’s Damon Albarn. This seemed to have a very positive effect on Damon Albarn’s songwriting though, because when Blur returned with a second album, it virtually defined Britpop. Modern Life Is Rubbish was the result of Albarn’s latest obsession with The Kinks, the most English 1960s band of all-time and the fact that their label Food (again, independent but effectively a subsidiary of a major, this time EMI) was considering dropping them. This was despite the commercial success of their first album and because of the media’s dislike of it. This shows how important the favour of the music press was at this time. As expected, the music press adored Modern Life Is Rubbish and this ensured its success. Blur didn’t rest on their laurels though, they followed that album with the even more successful Parklife, which drew on the same formula but expanded on it, including all kinds of uniquely English references, both musical and lyrical, and this made music journalists ecstatic. Blur became the most popular band of 1994. Damon Albarn therefore revealed that he was a canny songwriter who could write songs to match public and critical taste and this would lead to him still being active on the music scene today.
From the North, Oasis emerged. Unlike their southern rivals, Oasis were far more belligerent, arrogant and abrasive, in keeping with their manager and label boss’, Alan MacGee’s style (Creation had allegedly already hatched a deal with Sony by this time although a few years would pass before it was announced publically). They were just as British as their southern rivals though and had many of the same influences that the London bands had. Oasis wore their Beatles influence on their sleeves and proudly told every music journalist who listened about it. Although the Gallagher’s passed themselves off as rowdy, rude and uneducated, it became obvious that this was actually a clever marketing ploy, designed to play into the prejudices of the South-based, music press. It had worked for other Manchester bands like The Happy Mondays and The Stone Roses so why wouldn’t it work again? It did and this time it paid off dividends.
Despite Oasis’ fanfare of all-things Beatles, there was just as much punk, glam and straight-ahead rock on their debut album as any mop-top influence. Definitely Maybe was nakedly ambitious and laddish – the latter quality was not as present Blur and Suede albums. After a decade of independent bands being shy about wanting to be rich and famous, Oasis came across as refreshingly honest about wanting to be ‘a rock and roll star’. It seemed liberating to hear and male music journalists seemed to feel that they could live vicariously through Oasis. Futhermore, although the Noel Gallagher’s songs seemed to thieve from all and sundry, there was an obvious craftsmanship and wit at work. In his hands, stealing the odd melody or riff was more akin to sampling than genuine plagiarism. Oasis may have feigned ignorance but they also very funny and entertaining.
It was obvious that Justine Frischmann’s influence had been key to both Suede and also Blur. She had even been a founder member of Suede but when she left Brett Anderson for Damon Albarn it caused tensions in the band which caused her to leave. It took a while for her to finally get a band of her own together and this eventually became Elastica. The project was musically quite different from Anderson and Albarn’s, possibly to avoid any critical comparisons. Frischmann seemed to be more interested in exploring punk, post-punk and new wave than the music of the 60s, so Elastica had an angular, aggressive sound. Their self-titled debut is one of the few albums of the era that still doesn’t sound dated. It was both a critical and a commercial success. It threatened to be overshadowed at the time by accusations of plagiarism by punk bands Wire and The Stranglers, both settled out of court. This had already happened to Oasis, so it was becoming a theme in Britpop. And if Oasis were ‘lads’, Elastica were (mostly) ‘laddettes’ – open about sex, drugs and drink in interviews. After the ‘just say no’ 80s, this was also becoming a key component of the scene.
I haven’t mentioned The Spice Girls, who I would argue were part of Britpop in many respects, although musically and lyrically they may not fit the criteria. Their image was ultimately similar to Britpop and they incorporated many of the same ideas; a relatively clean-up version of ladette phenomenon, the Union Jack dress, the arrogant in-your-face attitude, and so on. The same argument applies to All Saints and any number of mainstream pop acts of the time.
Cast were quite similar to Oasis in some respects but had more in common with The La’s, hardly surprising since their main man, John Power had been one of the key members of that band. The La’s were unashamedly very retro and were vocal about wanting to return to musical values of the 1960s and Power carried that sentiment through to Cast. The La’s had dried up essentially because the main songwriter, Lee Mavers, seemed to hit a permanent dry-spell, which eventually lead Power to form Cast in order to start making music again. He quickly discovered that he was also capable of writing 60s-style songs, some of them rather anthemic. This is essentially the formula that Cast’s debut album sticks too and made it become a success. Cast were signed to a major label, Sony but by this time that was no longer an issue at the NME it seemed. Perhaps Power’s previous involvement with The La’s granted him the benefit of the doubt? The La’s were on Go! Discs.
Cast were eventually included in the backlash against Oasis other similar bands who became labelled ‘dad-rock’. This was in many respects unfair because Cast had always been outspoken about their fondness for all things 60s. This perhaps led to Power trying to modernise the band’s sound on their second album with less success.
Pulp had been going for years by the time Britpop arrived but they were hitting their creative peak. Pulp’s first release had been back in 1983 and so they were no strangers to the independent music scene, this had brought them few rewards though and so they were ready to make a change. In 1992 the band had been frustrated by their label, Fire Records, who were still sitting on their album, Separations, which had been recorded the previous year. Pulp left Fire and signed to a Warp Records imprint Gift (distributed by Island Records) and this resulted in a sudden burst of superlative singles, the most remarkable being ‘Do You Remember The First Time?’, which was their first Top 40 hit. This single bore all the hallmarks of what Pulp would become famous for and it was a distinctly Northern, British sound. If anybody deserves the title of Britpop’s poet it is Jarvis Cocker, nobody defined the lyrical template of the period better than him; his songs were witty, sometimes exhilarating but also deeply sexualised and dark. He captured its mood at the height of the era and charted its eventual demise just as honestly.
Pulp’s biggest success was their fifth album, Different Class in 1995. Unlike the other leading exponents of Britpop it is less easy to pigeon-hole Pulp, perhaps because the band – being so long established – already had their own individual style. They were, however, strongly influenced by Bowie, glam, The Smiths, 1960s bands and post-punk, but they were just as influenced by Scott Walker, French pop, techno and disco. It was Cocker’s vocal style, the subject matter of the lyrics and Pulp’s background in the British independent music scene which put them at the heart of Britpop.
I many respects Pulp were one of Britpop’s most defining bands. They had their roots in 1980s Indie, had been there for all the ups and downs of the 1980s and eventually achieved mainstream fame and success, even if Jarvis Cocker evenutally became disillusioned by it.
In conclusion, Britpop was the result of the major record labels realising that the music on 1980s independent record labels had commercial potential. Thus ‘Indie’ became another marketing term and eventually even a generic term. For a brief period, however, it resulted in some very exciting pop music.
|
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1641
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dbpedia
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1
| 59 |
https://www.lofficielibiza.com/music/rock-n-roll-music-history-70-years
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en
|
Rock'n'Roll Turns 70. The Story of a Free and Rebellious Sound
|
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] |
[] |
[] |
[
""
] | null |
[
"Guia Rossi"
] |
2024-08-03T06:45:57+00:00
|
Long live rock, born in the 50s and survived to this day in every form, from Chuck Berry and Elvis to Måneskin
|
en
|
/favicon/apple-icon-57x57.png
|
https://www.lofficielibiza.com/music/rock-n-roll-music-history-70-years
|
Rereading the history of rock between an American roll and a British riff. A creative and energetic exchange between two countries that have set memorable pages to music.
Enjoy a slow pace and ultimate luxury on lavish railways, stretching from Japan to Italy.
|
|||||
1641
|
dbpedia
|
1
| 52 |
https://www.buzzfeed.com/perpetua/the-official-britpop-album-ranking-1993-1997
|
en
|
The Official Britpop Album Ranking, 1993-1997
|
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[] |
[] |
[
""
] | null |
[
"Matthew Perpetua"
] |
2014-01-09T18:12:09+00:00
|
<b>Discuss.</b>
|
en
|
/static-assets/_next/static/images/favicon-496b7cee633e6a7dca162654e1bb39c9.ico
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BuzzFeed
|
https://www.buzzfeed.com/perpetua/the-official-britpop-album-ranking-1993-1997
|
Crucial singles: "Daydreamer," "I'll Manage Somehow," "Stardust"
Pity poor Menswe@r. They probably don't deserve to be the punchline of so many Britpop jokes, but their best work is only just mediocre so it's hard to defend them. The definitely brought a lot of it on themselves with that @ in their name, though.
Crucial singles: "Melodies Haunt You," "Staying Out for the Summer"
Dodgy are also the butt of many jokes, but they made the active decision to be called Dodgy. (Imagine an American band called Rando, or something like that.) "Melodies Haunt You" is a pretty good song, so maybe they should've had a bit more self-esteem.
Crucial singles: "Govinda," "Tattva"
Kula Shaker had some catchy tunes for sure, but "let's be a '90s version of George Harrison's two Indian-influenced Beatles songs" is kind of a flimsy premise for a band. Also, remember when the lead singer was talking about how much he liked swastikas and how Hitler wasn't all that bad? Yiiiiiikes.
Crucial singles: "Girl From Mars," "Goldfinger," "Kung Fu"
Ash are from Northern Ireland and their sound is a bit closer to the American alt-rock of their time, but they are still often lumped in with the Britpop pack. They had a lot of goofy charm, even if their music tended to be catchy but sort of basic.
Crucial singles: "You've Got A Lot To Answer For," "Sweet Catatonia," "Bleed"
This Welsh band's debut was produced by Britpop kingmaker Stephen Street, which makes it feel a bit more like it's part of the general scene than the music, which is mostly solid U.K. indie rock with a noticeable Welsh accent. It's good stuff, but the kind of thing you sorta need to be prompted to remember nearly 20 years later.
Crucial singles: "Crashin' In," "Just When You're Thinkin' Things Over"
The Charlatans were Britpop before Britpop was even a thing. Their self-titled album was their best work in the actual Britpop era, and the Stones-y single "Just When You're Thinkin' Things Over" is probably the peak of their career.
Crucial singles: "Sleep Well Tonight," "Olympian"
There's just no getting around the fact that Gene was a shameless clone of The Smiths, but to their credit, "Sleep Well Tonight" is the best fake Morrissey song of all time.
Crucial singles: "What Do I Do Now," "Sale of the Century," "Statuesque"
Sleeper were basically like a Britpop version of Blondie, to the point that one of their best known songs is actually a cover of Blondie's "Atomic" on the soundtrack of Trainspotting that was recorded because the band wouldn't allow their original to be licensed. This was their best-selling record, and was a bit heavier on keyboards than their debut.
Crucial singles: "Kelly's Heroes," "In the Name of the Father"
Happy Mondays helped set the table for the Britpop renaissance as leaders of the Madchester scene of the very early '90s, but had mutated into the offshoot band Black Grape by the mid-'90s. This is a pretty odd record in retrospect – it's sorta like listening to a few wasted blokes shouting over some party they've crashed – but there's no denying the charms of a tune like "Kelly's Heroes." ("Jesus was a black man!" "No, Jesus was Batman! "NO, THAT WAS BRUUUUCE WAAAYNE!")
Crucial singles: "We Are the Pigs," "The Wild Ones," "New Generation"
Suede's second album was a deliberate move away from a Britpop identity, and went a bit darker than their debut. This was the their final record with their original guitarist Bernard Butler, and the band's later records suffered a bit without his distinctive style.
Crucial singles: "All Around the World," "D'You Know What I Mean?," "Be Here Now" (OK, not a single, but should have been.)
Oasis' third album gets a lot of flack – mainly from Noel Gallagher himself – but it's actually a pretty great record if you're down with rampant musical excess. It's too long by about 20 minutes, sure, but there's at least four or five songs on this album that are top-drawer Oasis tunes. It came out at the end of the Britpop era, and basically sounds like a coke-fueled blowout in its honor.
Crucial singles: "The Booklovers," "When the Lights Go Out All Over Europe"
The Divine Comedy singer and songwriter Neil Hannon was a bit on the outside of the Britpop world – his work predates the scene by a few years and is more influenced by chamber pop artists like Scott Walker – but his perspective on British life was very much in line with contemporaries like Jarvis Cocker and Damon Albarn. Promenade, a concept album about two lovers on a day trip to the seaside, is essentially a classy, orchestral cousin to the music made by Hannon's more famous peers.
Crucial singles: "In Your Car," "Punka"
If we're being very honest there isn't a lot of difference between Kenickie and fellow female-fronted Britpop bands Sleeper and Catatonia, but they certainly had an edge in the effortless charm of singer Lauren Laverne. (She's since moved on to a successful career in radio and television.)
Crucial singles: "Something for the Weekend," "Becoming More Like Alfie"
Neil Hannon embraced the Britpop zeitgeist a bit with the fourth Divine Comedy album, and it paid off – "Something for the Weekend" became a genuine hit in the United Kingdom, and that success led to Hannon finding the devoted cult audience he deserved.
Crucial singles: "Light Aircraft On Fire," "Everything You Say Will Destroy You"
Much like The Divine Comedy's Neil Hannon, Auteurs songwriter Luke Haines was sort of grandfathered into Britpop mainly by sharing subject matter and aesthetics with his more popular contemporaries. Haines is more caustic than the rest, though, and Steve Albini's production on After Murder Park gave it a heavy punch despite the record's chamber pop leanings.
Crucial singles: "Brimful of Asha," "Sleep on the Left Side"
Cornershop's genre-bending breakthrough album came out near the end of the Britpop era, and maybe only really counts as Britpop in a broader contextual sense. But regardless, this is an often brilliant record that has held up very well over the years and is worth discovering or revisiting.
Crucial singles: "Animal Nitrate," "The Drowners," "So Young"
This is one of the records most often credited with beginning the Britpop era, and certainly set the template for the glam revivalism aspect of the movement. This is still Suede's best record, and "The Drowners" and "So Young" in particular are defining songs for the band.
Crucial singles: "For Tomorrow," "Sunday Sunday," "Chemical World"
More than any other record, Blur's second album set the parameters for Britpop as a genre and as a movement by cobbling together various highly British sounds – music hall pop, glam, post-punk, The Smiths-esque indie – and filling the lyrics with specific references that would make little to no sense to anyone outside the United Kingdom. Blur would make better albums later on, but "For Tomorrow," "Advert," and "Blue Jeans" rank among their finest compositions.
Crucial singles: "A Design for Life," "Kevin Carter," "Everything Must Go"
The Manic Street Preachers didn't really set out to be lumped in with Britpop – they were originally more of a punk band – but their first record as a trio following the apparent suicide of their original singer lyricist Richey Edwards certainly fit in with the spirit of the moment. "A Design for Life" stands out as one of the period's defining anthems.
Crucial singles: "Bitter Sweet Symphony," "The Drugs Don't Work," "Sonnet," "Lucky Man"
This is the album that made The Verve famous in the United States, and consolidated them as one of the top groups in Britpop after a period where the very existence of the band was in question. This is a sweeping and hugely ambitious record – everyone knows the glorious lead single "Bitter Sweet Symphony," but even the relatively low-key tracks on this record seem to play out on an epic scale.
Crucial singles: "Alright," "Caught by the Fuzz," "Mansize Rooster"
Supergrass were like the bratty little brothers of Britpop – highly energetic, a little goofy, and they didn't come into full bloom until after some older bands laid the groundwork for the scene. Their debut still sounds fresh and fun, and "Alright" – which many know mainly from being on the soundtrack of Clueless – is among the most famous of all Britpop tunes.
Crucial singles: "Beetlebum," "Song 2," "On Your Own"
Just as Blur signaled the start of the Britpop era with Modern Life is Rubbish, they basically ended the period with their self-titled fifth record, which made a point of moving away from the overt Britishness of their three previous albums in favor of a raw, messy sound heavily influenced by American indie bands like Pavement and Sonic Youth. But even in spite of that, it's still a very, very English record – there is a very strong early Bowie influence throughout, and the closing track "Essex Dogs" paints a vivid and extremely bleak portrait of life in mid-'90s Britain.
Crucial singles: "Babies," "Do You Remember the First Time?," "Lipgloss," "Joyriders"
Pulp had been around for more than a decade before this record, but this is where the band truly found their identity and helped kickstart the Britpop period with classics like "Do You Remember the First Time?" and "Babies." Jarvis Cocker firmly establishes himself as the finest lyricist of the Britpop movement here – his words are rich with mundane but vivid details, and the songs focus on sordid, sexy moments in otherwise ordinary lives.
Crucial singles: "On Your Own," "History," "This Is Music"
The Verve were the most romantic of the Britpop bands, and their second album is often unbearably gorgeous and sad. The emotional stakes on A Northern Soul are enormous, and Richard Ashcroft somehow found a way to sing songs of very personal and specific heartbreak in a way that it sounded like it was about everyone and everything. "A New Decade" and "This Is Music" are top-notch rockers, but the real soul of this record lies in the tear-jerking ballads "History" and "On Your Own."
Crucial singles: "The Universal," "Country House," "Stereotypes," "Charmless Man"
The Great Escape is the third of Blur's Britpop trilogy, and by far the most bleak. The record seems bright and jovial on its surface, but nearly every song is extremely misanthropic and witheringly judgmental of its characters, whether it's the drunken wife-swappers of "Stereotypes," the vapid consumer in "Globe Alone," the depressed rich man of "Country House," or the pervy government official in "Mr. Robinson's Quango." The key track here is the orchestral hit "The Universal" – it's an extremely bitter and ironic song about the lottery, but somehow the phony optimism of the chorus comes full circle to earnest hopefulness, and the cynicism gets purified by the overwhelming sentimentality of the sound.
Crucial singles: "Connection," "Car Song," "Line Up," "Stutter," "Waking Up"
Elastica got a bad reputation at the time for shamelessly stealing hooks from other bands, most notably Wire. But if you can get over that – and seriously, you should – their debut is one of the most consistently thrilling pop records of the '90s. Justine Frischmann's vocals really make the record what it is – her persona is wry, sexy, and wonderfully androgynous.
Crucial singles: "Wonderwall," "Don't Look Back In Anger," "Champagne Supernova," "Roll With It," "Some Might Say"
Oasis' second album is Britpop's biggest blockbuster both at home and abroad – it's so full of hugely popular songs that it could double as a greatest hits disc. It's rare to find a rock album that is both massively ambitious and deeply unpretentious. Noel Gallagher was aiming very high when he wrote this record, but his goal was basically to make a record where every last track sounded like the perfect soundtrack to drinking in a pub.
Crucial singles: "Supersonic," "Live Forever," "Shakermaker," "Cigarettes & Alcohol," "Rock& Roll Star"
Oasis' first record is as confident and fully-formed as a debut can get – every song is expertly crafted but delivered with the thrill of a band who've just hit their stride and are ready to take on the world. Whereas their rivals in Blur and Pulp excelled in writing songs about ordinary lives in modern England, Oasis thrived by embracing escapism and optimism. Definitely Maybe is a fantasy about what life could be if you escaped your mundane lot and willed yourself into living a rock star dream. It definitely came true for Liam and Noel.
Crucial singles "Girls and Boys," "Parklife," "To the End," "End of a Century", "This Is A Low" (Not a proper single, but a total classic.)
Blur's defining album is a panoramic view of mid '90s London in the form of a record that integrates a range of genres – synth-pop, music hall, punk, mod rock, French balladry, electric folk – while sounding totally cohesive. Damon Albarn's lyrics are often snarky, but he never tips over into the sort of misanthropy that took over on The Great Escape a year later. The record gets very perky, but the songs that stick with you are quite melancholy, like the resigned "End Of A Century" and the grandiose loneliness of the finale, "This Is A Low."
Crucial singles: "Common People," "Sorted for E's and Wizz," "Disco 2000," "Mis-Shapes"
Blur may be the greatest Britpop band, but Pulp created the defining album of the genre with Different Class, a record packed from top to bottom with brilliant songs about resenting the rigid class structure of English society. This could easily be a dull and didactic, but the massively charismatic Jarvis Cocker dives into this subject matter with a great deal of wit and nuance, even when he's calling for working class people to revolt in the rousing opener "Mis-Shapes." The peak of the album – and of Britpop in general, really – is the hit single "Common People," which stands among the best rock anthems of any era.
|
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0
| 49 |
https://www.quinnartistes.com/acts/total-britpop-live-band/
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en
|
Total Britpop Live Band
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2022-03-03T12:36:13+00:00
|
Total Britpop Live Band are a 90's Britpop / Madchester / Indie Band that also perform classics from other related genres and decades.
|
en
|
Quinn Artistes
|
https://www.quinnartistes.com/acts/total-britpop-live-band/
|
A TRIBUTE TO ALL THE BRITPOP BANDS
Total Britpop Live Band embodies the essence of 90s Britpop, Madchester, and indie music while also incorporating classics from related genres and decades. Their dynamic performances cater to diverse audiences at parties, corporate events and much more, ensuring enjoyment across all age groups. With something for every generation, they ignite the dance floor, encouraging everyone to sing along and participate.
Dressed in authentic attire of the era and wielding the same guitars, Total Britpop Live Band recreates the genuine sound and vibe of the 90s, transporting audiences back in time with their nostalgic melodies and energetic presence.
Music Genre
60s, 70s, 80s, 90s, 00s, Britpop, Madchester, Indie, Rock, Ska, Mod
Current Playlist
Oasis: Don’t Look Back In Anger, Wonderwall, Roll With It
Blur: Parklife, Song 2
Pulp: Common People, Disco 2000
The Stone Roses: She Bangs The Drums, Fool’s Gold, I Am The Resurrection
Ocean Colour Scene: The Day We Caught the Train, The Riverboat Song
The Verve: Sonnet, Bitter Sweet Symphony
Supergrass: Alright, Pumping On Your Stereo, Moving
Getting Better: Shed Seven
James: Sit Down, Laid
Reef: Place Your Hands
Happy Mondays: Step On
The La’s: There She Goes
The Charlatans: The Only One I Know
Primal Scream: Rocks
The Wannadies: You & Me
Good Enough: Dodgy
Hush: Kula Shaker
Total Britpop can also swap out some of the lesser known, melancholy tracks for the likes of:
The Killers: Mr Brightside
Arctic Monkeys: Mardy Bum
Stereophonics: Dakota
Kings of Leon: Sex On Fire
Kaiser Chiefs: I Predict A Riot
The Jam: Town Called Malice
The Specials: Gangsters
The Fratellis: Chelsea Dagger
The Beatles: I Saw Her Standing There
The Rolling Stones: (I Can’t Get No) Satisfaction
Franz Ferdinand: Take Me Out
The Smiths: This Charming Man
The Who: My Generation
R.E.M.: Losing My Religion
The Wonder Stuff: The Size of A Cow
Coldplay: Yellow
Dandy Warhols: Bohemian Like You
The Coral: Dreaming Of You
The Strokes: Last Nite
Previous Clients
Grosvenor Casinos
The Teenage Cancer Trust
Stonebridge Golf Club
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Hotels
Live Music Venues
Festivals
Scooter / Mod Rallies throughout the U.K.
Testimonials
I wanted to do something a bit special for my 50th birthday during the summer of 2021 and so a party with live music and a load of friends was the big idea. It’s a bit nerve wracking choosing a live band, but I’ve always loved Britpop and a load of the music that has sprung up from those times – so when I found Adam and his band everything was looking good. Well it was better than good, the guys turned a good party into a great party and I can’t thank them enough for that. Professional in every way pre, during and after the gig – I would 100% recommend them. – Nick Canney – European Managing Director of Innocent Smoothies, 50th Birthday Party, Gerrard’s Cross
We booked Total Britpop for our wedding having seen them at a number of different gigs. These chaps are superb, can whip up a crowd, and are versatile enough to mix it up. The evening of our wedding was turned into a party by Adam and the guys- exactly what we wanted. Absolutely brilliant quality and range- made our evening. Well done and Thank You guys – Merry Christmas! – Lee Marsh, Wedding in Penkridge, Staffordshire
Thank you for a fantastic performance. The Warrant Officers’ & Sergeants’ Mess, Christmas Function 2019 appreciated the efforts from the band. The music was professionally delivered, sounded quality and enhanced the atmosphere. The performance enhanced the ‘Peaky Blinders’ themed event with tunes that everyone could dance, sing and relate to. All that attended have mentioned that you were brilliant and have walked away with lasting memories of the event. – Staff Sergeant Arron Hastings, Royal Engineers Christmas Party, Chetwynd Barracks, Nottinghamshire
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1641
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2
| 85 |
https://secondhandsongs.com/performance/51246/all
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en
|
Disco 2000 by Pulp
|
https://secondhandsongs.com/picture/73067
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https://secondhandsongs.com/picture/73067
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Pulp originally released Disco 2000 written by Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey, Russell Senior and Mark Webber and Pulp released it on the album Different Class in 1995. It was also covered by The Retro Band, The Lance Gambit Trio, Twinkle Twinkle Little Rock Star, Nick Cave and other artists.
|
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/art/apple-touch-icon-precomposed.png
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https://secondhandsongs.com/performance/51246/all
|
Adaptations
An adaptation is a musical work, which uses elements (music or lyrics) from another musical work.
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https://8forty.ca/2021/06/22/how-to-kill-a-genre-oasis-be-here-now/
|
en
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The album that killed Britpop
|
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2021-06-22T00:00:00
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Oasis’s drug-fueled disaster, Be Here Now, ran a booming genre straight into the ground.
|
en
|
https://8forty.ca/2021/06/22/how-to-kill-a-genre-oasis-be-here-now/
|
Ask any music enthusiast what the defining movement of 90s music is, and the two responses you’re most likely to get is either gangsta rap or alternative rock. And that is absolutely warranted. The turn of the decade left the heavy metal and hair metal of old aside, giving ground for hip hop and alternative rock to take center stage. The 1991 Nirvana album Nevermind, featuring Smells Like Teen Spirit skyrocketed them to mainstream success and they became the leader of the alternative movement. It would soon be followed by names such as Foo Fighters, Green Day, Marylin Manson, Red Hot Chilli Peppers and R.E.M. Hip hop, on the other hand, was predominantly gangsta rap, using Dr. Dre’s 1992 hit album The Chronic as the defining ethos. Rap, and in general hip hop, enjoyed an explosion of popularity with icons such as Snoop Dogg, 2Pac, The Notorious B.I.G, Ice Cube, Ice-T, A Tribe Called Quest, and Eminem becoming household names. So in the midst of Snoop Dogg’s g-funk sound and Kurt Cobain’s guitar riffs, what could stand to oppose this surge of popularity?
The UK’s answer: Oasis.
With two albums in a row, they would blaze the trail for Britpop to become more than a local curio. Alongside bands such as Blur, Suede and Pulp, Oasis would almost follow the footsteps of The Beatles and The Human League and lead a third British invasion into the US. And then, with one disaster of an album, they reversed years of progress, turning the genre back into a relic of the 90s.
Oasis, the Rock ‘N’ Roll Star(s)
Oasis formed in Manchester in 1991, featuring Paul Arthurs on rhythm guitar, Paul McGuigan on bass, Tony McCarroll on drums, Liam Gallagher on lead vocals and his brother, Noel Gallagher on lead guitar and occasional lead vocals. The band dynamic was heavily centered around the Gallagher brothers, with Noel being the band’s songwriter and Liam the lead singer. Briefly after the band’s inception, they released the two albums that would define the band, their genre and their status: Definitely Maybe (1994) and (What’s the Story) Morning Glory? (1995). The two albums were both critical and commercial successes. One might be a fluke, but two? That was legendary.
The two albums were often regarded as key milestones of Britpop as a genre. Britpop is the UK’s answer to the American grunge: the British genre was close to home, with imagery and lyrics that connected with British working class and youth, whereas grunge was often regarded by Britpop bands as irrelevant and having nothing to say about their life. That element of familiarity and simplicity was one of the main appeals of Noel’s writing: his lyrics are simple and easy to relate, yet they have always seemed vague and poetically grandiose, as seen from the chorus of Live Forever: Maybe I just wanna fly/ Wanna live, I don’t wanna die/ Maybe I just wanna breathe/ Maybe I just don’t believe/ Maybe you’re the same as me/ We’ll see things they’ll never see/ You and I are gonna live forever.
But lyrics alone are not what set Oasis apart from the genre’s other practitioners. For starters, Oasis’ albums are always mixed to be loud, often with harsh overdriven guitar dubs and very fast-paced, aggressive drums, as seen in Supersonic and Rock ‘n’ Roll Star. That, combined with Liam’s nasally voice, gave the band a unique sound. However, (What’s the Story) Morning Glory? shows that the band are not dependent on loud mixing choices to hide their flaws, as the album’s softer sound allows Noel’s lyrics to have more impact. Furthermore, the Gallagher brothers themselves garnered quite a following. Their rivalry and hatred of each other often filled newspapers and tabloids. They were likely the last band that truly embraced the rock and roll lifestyle: getting into fights and arguments, drugs and alcohol in excess and overall being arrogant rock stars. That popularity would propel Oasis into legends that would take the world by storm, fill stadiums and conquer America. As an example of how large that popularity was, their record label once released a single (Wibbling Rivalry) that was just audio of Noel and Liam having a violent argument during an interview.
And it charted.
With so many factors in their favour, surely Oasis would become the king of the 90s. And so they went back to their recording studio and recorded a third studio album. That would surely be a smash hit and enshrine them in the history of culture. They were surely untouchable. Right?
“The sound of a bunch of guys, on coke, in the studio, not giving a fuck.”- Noel
Be Here Now debuted in 1997 to mild critical reception: Rolling Stone gave the album 4 out of 5 stars, describing it as “a great pop band with a long memory”, Spin declared Be Here Now “another quality Oasis record” and Entertainment Weekly hailed Liam’s singing as “earnest”, praising Noel’s lyrical skills at length. On top of that, the album had four top selling singles out of the album. Yet this is the grave of Britpop. This is where the genre would die for good. So what went wrong?
The first clue can be found by looking at the track list: the crushing length. 72 minutes was long for 1990s standards, but the problem worsens when each individual song is considered. Every song is over 4 minutes long, with about half of them being longer than 6 minutes. Any song of that length must either have really good lyrics, or contain good hooks to draw the audience’s attention and keep the boredom away.
That leads us directly to the second reason: the sound mixing is incredibly abrasive and glaringly loud. An example of this is the single “D’ You Know What I Mean,” which is filled with overdriven guitar layers, helicopter and crowd noises, and a string section that drowns out all other instruments. This resulted in the drums needing to be mixed way louder to even be heard, Liam’s vocals being practically lost under the mess, and the bass barely even existing.
The obnoxious sound mixing choice almost stands as a cover up for the fact that the songs’ structure and lyrics are just plain awful. The songs rely almost entirely on repeating the chorus ad nauseum just to fill out the length, with no memorable hooks or riffs. The lyrics have many problems as well: “D’ You Know What I Mean” contains a chorus that is about nothing: All my people right here, right now/ D’you know what I mean? Yeah, yeah. “Stand By Me” is very cheesy, with an uninspiring chorus that lasted far longer than it should have: Stand by me, nobody knows the way it’s gonna be x12. “Don’t Go Away,” by far the best song of the album, has lyrics that felt too simple and too clear in comparison to the band’s ethos: So don’t go away/ Say what you say/ Say that you’ll stay/ Forever and a day/ In the time of my life/ ‘Cause I need more time/ Yes, I need more time/ Just to make things right. Noel himself even commented on the lacklustre quality of the songs: “I know how much effort I put into it. It wasn’t that much.”
The album’s multiple flaws seem to be predictable just by looking at Oasis at the time of recording. First of all, the band and their manager were all high out of their minds on cocaine. Secondly, Liam and Noel’s constant infighting caused Noel to briefly leave the band and then rejoin later, and, to quote Noel: “instead of going, ‘Right, we should just go our separate ways for a year or two,’ we decided like idiots to go straight into the studio.” Thirdly, Noel’s writing became aimless and lost its British working class root, instead the superstardom lifestyle robbed Oasis of their everyday man charm, leaving behind a husk of a drugged-out, collapsing band.
All this culminated in the worst song of “Be Here Now,” “All Around the World.” This monstrosity of a song contains all the previous flaws: including the reprise, it’s a 12-minute tedious torture of sound and noise, with the lyrics being plain boring and the plain nothing burger of a chorus repeated to the point of annoyance. But this song is worse than all the previous ones for one reason: this is Noel’s attempt to be The Beatles.
It’s no secret that Noel’s songwriting has been inspired heavily by The Beatles. Multiple song names were used as lyrics (“Let It Be,” “The Long and Winding Road,” “Helter Skelter,” “Fool on the Hill,” and “I Feel Fine” all appear in this album’s lyrics) and the production of the tracks tried to emulate the dense parts of “Strawberry Fields Forever” or “A Day in the Life” by layering sounds over each other, to little success. Even “Be Here Now” is taken from a George Harrison song of the same name and a John Lennon quote about rock and roll: “Some people will do anything rather than be here now.”
With that in mind, “All Around the World” is clearly trying to be “Hey Jude” or “All You Need Is Love,” a heartfelt stadium anthem where fans can sing along. One slight problem though: while John Lennon and Paul McCartney can sell the sentiments with their voices alone, Liam and his nasally voice absolutely cannot. The sound of an arrogant, drugged out rock star trying to sing about platitude and sincerity sounded more like a sarcastic whine that goes on for 9½ minutes. And they tried to sell that platitude incredibly hard: strings, french horns, trumpets, more guitar dubs, ‘na na na’s, key changes, more sound, more everything. It all added up to be a 12-minute session of pure torture and summed up everything that is wrong with the album: the sound of a bunch of coked out, jaded and bickering rock stars too high to make a good decision, instead churning out an unlistenable experience of an album.
Aftermath
As years passed, that initial positive reception of 1997 faded, leaving all the flaws as a sour aftertaste that, over the years, only tanked the album’s reception even more. Pitchfork described it as “bloated and indulgent” and “one of the most agonizing listening experiences in pop music.”
The album isn’t without its redeeming points. I appreciate the somewhat intriguing arrogance in “My Big Mouth” and “Don’t Go Away,” the latter of which is by far the best track of the album. It didn’t suffer from the deafening sound mixing or the meaningless lyrics that plagues other tracks. There is still a trace of the world-conquering Oasis in there.
In fact, that might have been the problem: the album was made by Oasis, giving it too high of an expectation. They just released two of the greatest albums of rock history, and therefore, anything less than utter perfection as a follow-up would be a failure just by logic. The Gallaghers tried to be louder and grander than the last, but they simply didn’t have any original ideas to back it up, and it backfired severely.
The album title almost sounds like a warning: be here now, because we’ll be gone forever. And they did. Oasis themselves spiralled into a period of drought, too busy with drugs and alcohol to make a good record. Liam and Noel’s hatred of each other only intensified, with occasions of Noel quitting tours halfway due to blown up arguments. They never released anything that captured the audience like their first two albums again. Instead, after multiple line-up changes and another argument just before a tour in Paris in 2009, Noel quit the band for good, and Liam reformed Oasis into Beady Eye. Whether you want to believe that Liam smashed Noel’s guitar, vice versa, or both, that guitar smash would, in turn, smash Oasis’ cultural relevance. Their hits would slowly fade into obscurity, with Wonderwall the only piece of the band still present in modern cultural history.
As for Britpop, while the movement didn’t exactly die with Be Here Now, many have pointed to the album as the turning point. By then the big Britpop groups (Blur, Suede, Pulp) had all departed the genre. Oasis was supposed to lead the movement to new heights, so when Be Here Now disastrously flopped, people simply lost interest in the genre. Britpop limped on forward, but it never reached that height again.
With Rolling Stone’s release of its top 500 albums, putting Morning Glory at 157th place and many calls for Definitely Maybe to be featured as well, we might be able to go through a nostalgia trip of the good Oasis again. May they be remembered for being the world beating, America conquering, arrogant rock band and for better music than All Around the World.
|
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dbpedia
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| 88 |
https://tgtrs.wordpress.com/2021/05/24/who-won-the-battle-of-britpop/
|
en
|
Who Won The Battle of Britpop?
|
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2021-05-24T00:00:00
|
If you want to look at a cultural moment like Britpop, you can't look at a single chart race, but rather, at the war itself.
|
en
|
Those Guys That Review Stuff
|
https://tgtrs.wordpress.com/2021/05/24/who-won-the-battle-of-britpop/
|
Britpop. What a wild few years that was, eh? Cultural moment, they call it nowadays, as opposed to being an actual genre, but I think there’s merit in both descriptions. I am, after all, a seasoned provider of opinion about music. The seasoning is a basic salt and pepper rub, but it’s still seasoning! So what do I make of the Battle of Britpop? We know that, officially speaking, the Battle of Britpop was a single chart-race between Oasis and Blur, with Blur winning out by a Country House mile, but if you want to look at a cultural moment like Britpop, you can’t look at a single chart race, but rather, at the war itself.
So, buckle up, and we’ll go on an adventure to explore the Battle of Britpop properly, shall we?
Now, between you, me, and that person reading over your shoulder (Hi Dave!) I was a bit young when Britpop was in its prime, so I’ve had to do a bit of research and according to that research, there was a quartet of bands referred to as the “big four” – Oasis, Blur, Suede and Pulp. I had heard of all of these, and in fact, three of these feature on the playlist from our music suggestions page. But, I’ll be as fair as I can, and incorporate facts and figures into the matter rather than just relying on – ugh – feelings.
So, we’ll do a proper comparison in a tournament style. It’ll be fun, you’ll love it. And if not, it gives me a chance to mess about with some pictures and websites. To start, I’ve gone to Challonge.com, who have a tournament bracket generator, plugged in the four names, and it randomly generated the below tournament for us to start with. We’ll go through, deciding who wins section 1, section 2, the 3rd place match, and then the final. Let’s get on with it, shall we? Should be fun!
Oasis vs. Suede
Honestly, I’m not entirely sure I can be impartial on this one, so we’ll resort entirely to statistics.
On the face of it, Oasis won out there, and honestly, I prefer them to Suede, myself. Match goes to Oasis.
Blur vs. Pulp
I don’t know for sure which band I was introduced to first of the two, but I’ve been aware of them both for many, many years. I remember being shown the Common People video and thinking “what the hell is the guy doing in a trolley, and why would she leave Greece to study sculpture?”, and I also remember blasting Parklife in the car on the way to do the shopping last week and singing along, so they’ve both given me positive memories.
It’s awkward, cos as a rule, I prefer Pulp‘s sound, but, so far, I prefer more of Blur‘s songs. You can’t beat the likes of Country House, Song 2 or Girls and Boys, but you also can’t beat the likes of Disco 2000 or Sorted For E’s & Wizz, so it’s a real tough one. I’m going to give it to Blur. Don’t hate on me for it, just accept that you’re allowed to disagree.
Looks alright, doesn’t it? I went with stars instead of crowns, but the message gets across still. And considering it’s been edited in paint, I’m sure we can allow a few inconsistencies. Let’s resolve the 3rd place ranking.
Suede vs. Pulp
In order to try and keep this fair, let’s have a look at two specific songs, one from each, and compare them. In order to keep this fair, we’ll do songs about the same topic, in this case, drug use, cos that’s a rock and roller move, isn’t it? I would normally insert a picture of someone who looks like they’ve had a particularly rough time of it with drugs, here, and make some joke about this being a now-washed-up rock star, but let’s be honest, I can just do a picture of Ronnie Wood and get the same message across.
So, drug use songs. Let’s go with So Young by Suede and Sorted For E’s And Wizz for Pulp. The former refers to the experience of taking drugs, with the repeated line “let’s chase the dragon”, something commonly associated with smoking heroin. Not so subtle. The latter has a more upbeat look at drug use at a festival of some sort – potentially Glastonbury, though it can’t be, cos it references Hampshire, and Glastonbury is in Somerset. Oddly though, I just found out it was debuted at Glastonbury, so that’s something.
The former looks at taking drugs as a consequence of misspent youth, whilst the other looks at it as an experience altering occasion, whilst also highlighting the possible consequences of partaking of whatever E’s and Wizz are. One assumes ecstasy and some other substance.
I prefer Sorted For E’s And Wizz by a long shot. It’s a more cheerful song, it’s a happier song, even when looking at the controversial topic of drug use. It’s mellow – no real stress until towards the end, and even then, it’s a sort of chilled out stress – like I would assume someone tripping out might have. I wouldn’t know, I’ve never done MDMA. Unless you count listening to the Madonna album.
So, Pulp wins that one, putting them in 3rd place in the Battle of Britpop. What does that do for the standings?
So that brings us to the final. Who won the Battle of Britpop, between Oasis and Blur?
Oasis vs. Blur
Part of me hoped it wouldn’t come down to this pair, but in my gut, when I started this post, I just knew it had to. There’s a reason they’re the two the media focussed on, and it’s because they’re the big ones of the big four. They were the ones to watch, and watch we did. So, to make this fair, I’m going to do the same thing I did for 3rd place, but twice. We’re going to look at the official “Battle of Britpop” songs – Country House, and Roll With It – and then the ones that, in retrospect, Noel Gallagher thought it should have been between – Girls & Boys, and Cigarettes & Alcohol. I’ll be doing this by scoring each song out of – unusually for us – five, and then combining each band’s scores to give them a score out of ten. The winner is the one with the highest score. Seems simple enough, right? Then let’s go!
So there we have it. The final standings. In fourth place, Suede, in 3rd, Pulp, Oasis in 2nd, and then Blur, the official TGTRS winners of the Battle Of Britpop. The final tournament image is below, because I’ve made the others and it seems daft not doing the last one too.
As always – and be aware, I only highlight it because we mean it – get in touch if you agree, disagree, whatever. Let us know what you think, and if you think differently, convince us of why you’re right and we’re wrong. I love a good discussion.
-That Guy
Additional Comment: Personally, though, I think my favourite songs from each band are Parklife and Half The World Away. Very different songs, but both amazing.
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Bob Sinclar - Disco 2000 selector (Original) [Yellow Productions]
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Download & Stream Bob Sinclar - Disco 2000 selector (Original) [Yellow Productions] in highest quality | Find the latest releases here | #1 source for DJ Sets and more
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https://www.beatport.com/track/t/1184100%3Fcurrency%3DEUR
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I Got One (You're It) Eric Volta Remix
Get into the music Original
|
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1641
|
dbpedia
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3
| 30 |
https://www.theguardian.com/music/musicblog/2008/jan/24/judgingbythesepagesthere
|
en
|
Naming music genres is fun
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Music%2CCulture%2CVampire+Weekend%2CBritpop"
] |
[] |
[] |
[
""
] | null |
[
"Trevor Baker",
"www.theguardian.com"
] |
2008-01-24T00:00:00
|
<p>Britpop works. Shoegazing doesn't. Today I'm trying to come up with a label for Vampire Weekend and co</p>
|
en
|
the Guardian
|
https://www.theguardian.com/music/musicblog/2008/jan/24/judgingbythesepagesthere
|
Vampire Weekend: white college rock with African rhythms
Judging by these pages there seem to be two big new ideas in music for 2008. One is eccentricity, with its adherents already being dubbed The New Eccentrics. The other is white college rock bands borrowing African rhythms. That scene, spearheaded by Vampire Weekend, doesn't as yet appear to have been given a name.
This is an opportunity. The tendency of music journalists to put bands into boxes is often derided but, come on, it is kind of fun. And I bet Stuart Maconie has a wry smile to himself every time he hears somebody use his hugely successful coinage Britpop. It's also worth remembering that all genres get given names eventually so it's worth making the effort to try and think of a good one.
I still find it weird that fans of music with walls of distorted guitar and breathy vocals have uncomplainingly accepted Shoegazing as the name of the genre they love. Why did the much more flattering and arguably more descriptive American term Dreampop never catch on?
More recently I've seen complex and intelligent bands like Battles described as Math-Rock which is even worse, especially when reduced to "a bit math-y". The problem seems to be that new scenes are often christened by people who don't like the music very much.
Since Rock 'n' Roll there have been very few cool names for genres. Pop is a bit patronising. Hip-hop just sounds silly. Funk generally refers to either being scared or a bad smell - which might explain Jamiroquai but not much else.
Wikipedia has a long list of musical genres and there are a few that it would be nice to hear more often. Bastard Pop sounds great, although it turns out it's just a reference to the trend a year or two back for playing two songs at the same time. The self-explanatory Bleak House sounds pretty brilliant, too, although unfortunately that may be somebody's idea of a joke.
Anyway, it's not too late to give Vampire Weekend and their lesser-known ilk a decent scene to belong to. Apparently they're influenced by the African musical style Hi-life so that may need to be incorporated in the title somewhere. They also have a touch of the clean-cut poppiness of Hanson's Mmmbop about them.
So how about Hi-bop?
No, that's rubbish isn't it? It turns out this isn't as easy as I'd thought - if anyone's got any better ideas, and nothing better to to do, I'd love to hear them.
|
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1641
|
dbpedia
|
1
| 29 |
https://volt.fm/genre/1597/britpop
|
en
|
Britpop artists, songs, albums, playlists and listeners – volt.fm
|
[
"https://i.scdn.co/image/ab6761610000e5eb0522e98a6f0cf1ddbee9a74f",
"https://i.scdn.co/image/ab6761610000e5eb00620d736644d2359ce99430",
"https://i.scdn.co/image/94390c15f4b8ba12d111a0b166a5b2af4dd1d694",
"https://i.scdn.co/image/ab6761610000e5ebc8b42133fea50275b77f45e2",
"https://i.scdn.co/image/ab6761610000e5eb9adf40411756ca7c9d92bbf2",
"https://i.scdn.co/image/ab6761610000e5eb9eeb3f2569bb34874643bb72",
"https://i.scdn.co/image/ab6761610000e5eb9bcd17a96a1b01fabe28884d",
"https://i.scdn.co/image/b402bab4eb25e953eef911e1fde6076e116ce0b2",
"https://i.scdn.co/image/ab6761610000e5ebba54d75e185cf6dac1eebbc8",
"https://i.scdn.co/image/ab6761610000e5eb44b03604cc7e3271aa5dbad0",
"https://i.scdn.co/image/ab6761610000e5eb21544d3b4e0a00d209f56743",
"https://i.scdn.co/image/e2657fa7789ec2be647b71076b46f980f7540c73"
] |
[] |
[] |
[
""
] | null |
[] | null |
Everything about Britpop — Artists, playlists and top listeners.
|
en
|
/apple-touch-icon-57x57-precomposed.png?v605
|
https://volt.fm/genre/1597/britpop
|
See your Spotify stats (with number of plays and minutes listened) and discover new music.
Music data, artist images, album covers, and song previews are provided by Spotify. Spotify is a trademark of Spotify AB.
|
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1641
|
dbpedia
|
3
| 47 |
https://statehornet.com/2024/05/dua-lipa-radical-optimism-album-review/
|
en
|
Dua Lipa shares radical spin on Britpop genre with ‘Radical Optimism’
|
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Dua Lipa’s latest album “Radical Optimism” is a return to Britpop with danceable energy, which is unlike her 2020 disco album “Future Nostalgia.”
|
en
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/wp-content/uploads/2016/08/cropped-12960014_1718391878430811_1888287782_a-70x70.jpg
|
The State Hornet
|
https://statehornet.com/2024/05/dua-lipa-radical-optimism-album-review/
|
Dua Lipa ignites the summer heat with her electrifying dance-pop album “Radical Optimism,” meshing unwavering confidence and innovative use of Britpop sounds to deliver an impeccable sonic experience.
“Radical Optimism” is Dua Lipa’s third studio album released after a four-year break since her 2020 disco-inspired album “Future Nostalgia.” “Radical Optimism” features 11 songs lasting about 36 minutes and features three singles “Houdini,” “Training Season” and “Illusion.”
For the past four years Dua Lipa spent some time on the big screen featured in popular films “Barbie” in 2023 and “Argylle” in February, but that didn’t restrict her from recording in the studio.
On her music break, Dua Lipa collaborated with star-studded musicians like “Cold Heart (Pnau Remix” with Elton John in 2021, “Sweetest Pie” with Megan Thee Stallion in 2022 and “Potion” with Calvin Harris and Young Thug in 2022.
The album begins with “End of an Era,” which sounds like a typical Dua Lipa song, reminding fans that she’s back and ready for fans to dance and sing along. The song is a fast-paced, disco-sounding track that’s reminiscent of past tracks, like “Don’t Start Now” and “Dance The Night.”
The bridge in “End of an Era” feels like walking on the runway, cameras flashing and feeling confident, especially with the lyrics, “In the clouds, there she goes. Butterflies, let them flow. ‘Nother girl falls in love. Another girl leaves the club.”
Shifting from her signature sound to new wave Britpop, Dua Lipa uses this song to mark the “End of an Era” of her iconic disco creations.
Dua Lipa said to the Zach Sang Show, “Radical Optimism” mirrors her confidence as a singer and her career outlook with this new era.
RELATED: Girl in Red is most definitely ‘Doing It Again, Baby!’
Dua Lipa collaborates with Kevin Parker from the psychedelic indie project Tame Impala to channel angst and vigor infused with zealous bass lines to reminisce the glam rock era.
Other producers link with Dua Lipa to add thrilling pop flair to the album. British electronic music producer Danny Harle, Los Angeles-based producer Ian Kirkpatrick and singer-songwriter Andrew Wyatt work together to create “Radical Optimism” into the masterpiece fans know and love.
While Dua Lipa doesn’t adopt psychedelic pop energy, as she promised in her interview with Rolling Stone, she does deliver danceable songs and relatable lyrics guaranteed to be fit for summer.
One of the album’s standout tracks is “These Walls,” which details Dua Lipa’s inner dialogue before breaking up with someone, and displays her newfound confidence when making difficult decisions like ending a relationship.
Subtle bass and reverberated background vocals turn the chorus into an echo chamber, creating an immersive listening experience.
Dua Lipa’s lyrics aren’t overly poetic. In fact, she gets straight to the point: “It’s not supposed to hurt this much. Oh, if these walls could talk, they’d tell us to break up.”
Her overwhelming confidence is on point in this album from her straightforward lyrics to her punchy instrumental choices like background bass and guitar riffs from iconic producers.
Producers Harle, Kirkpatrick and Wyatt have experience with pop music since the early 2000s, so they know how to reel an audience in. They choose intense beats that make listeners hit the dance floor.
With Harle’s background in UK rave culture, a big demographic of Dua Lipa’s music, the electronic elements of the song’s bass lines are amplified, pulsating to make listeners want to dance in a club, living life to the fullest.
“Whatcha Doing” has an incredible bassline that’s an ode to her influence from 90s Britpop bands and electronic pop.
The intro of the song sounds like floating through space, with tiny shooting star-like sounds, until the iconic bassline hits with every beat packing a punch of an infectious cadence. Just like a typical Dua Lipa song, the chorus meshes perfectly with the song’s exciting beats that are guaranteed to make listeners groove.
“French Exit” and “Maria” feature mighty flamenco guitar resonance, which sounds hypnotizing and exhilarating.
“Maria” is an interesting track with a unique addition of a high-pitched flute riff that repeats before each verse.
The track is a laid-back letter to her partner’s ex, saying thank you for shaping him to become the person he is today. Her authenticity shines through with honest lyrics, “Now he is everything I’d ever want. I wanna thank you for all that you’ve done.”
“French Exit” vividly paints Dua Lipa’s overwhelming confidence and unbothered attitude about severing ties with her ex and prioritizing her peace of mind.
Dua Lipa’s lyrics show no remorse or second-guessing, but they would also make superior Instagram captions, “It’s not a broken heart if I don’t break it. Goodbye doesn’t hurt if I don’t say it.”
However, this album wouldn’t have the hype it does without the three stand-alone singles Dua Lipa premiered earlier this year, “Houdini,” “Training Season” and “Illusion.”
“Illusion” sounds similar to Dua Lipa’s discography with a punchy chorus. When listening with headphones, the post-chorus and bridge interpolate from ear to ear, creating a trippy echoing effect that’s typical of Dua Lipa’s electronic pop style.
“Falling Forever” displays Dua Lipa’s cinematic vocals from the first note, but that isn’t the only standout aspect of the song. The roaring drums that resemble a powerful rock ballad overwhelm the chorus.
The song is a raw, emotive track that Dua Lipa usually avoids, but its ballad style works impeccably well with the rest of the album.
Dua Lipa serves a striking conclusion to the album with “Happy For You,” a passive-aggressive dedication to her ex.
“Happy For You” is a lament to Dua Lipa’s ex, showing she has moved on and is happy, yet the lyrics Dua Lipa chose for this song are surface-level and lack a deeper meaning.
The chorus lacks poetic depth with lyrics like, “I must’ve loved you more than I ever knew. ‘Cause I’m happy for you. I’m not mad, I’m not hurt. You got everything you deserve.”
While poetic lyrics aren’t vital for a great pop song, incorporating poetic elements can add depth to the album’s half-baked playfulness.
Dua Lipa compensates for her lack of poeticism by incorporating the sound of chirping birds to “Happy For You,” so listeners can relax to conclude from the album’s energetic nature.
Dance pop isn’t supposed to be thought-provoking, but a bit of vulnerability from Dua Lipa would be nice, so listeners can see a side of her that isn’t all about girlbossing in the club.
Despite an absence of thought-provoking lyrics, Dua Lipa’s “Radical Optimism” creates an out-of-this-world dance-pop album perfect to dance the night away this summer.
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| 10 |
https://storymaps.arcgis.com/stories/786ada655d424028881095241d2be48b
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en
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Britpop in the 90's
|
[] |
[] |
[] |
[
""
] | null |
[
"Alyssa Rodriguez"
] |
2019-10-30T17:50:57+00:00
|
How Britpop emerged as a staple of music from the UK
|
en
|
/static/images/favicon-32x32.png
|
ArcGIS StoryMaps
|
https://storymaps.arcgis.com/stories/786ada655d424028881095241d2be48b
| |||||
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0
| 45 |
http://www.acclaimedmusic.net/genre/genre85_s.htm
|
en
|
Acclaimed Music
|
[] |
[] |
[] |
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"recommended songs",
"Best albums",
"Best songs",
"best of list",
"Critic lists",
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Acclaimed Music. The most recommended albums and songs of all time.
|
favicon.ico
| null |
Songs "bubbling under" the all-time top 10000:
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| 53 |
https://www.facebook.com/McChuillsBar/posts/6125299174254113/
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en
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Facebook
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[] |
[] |
[
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
| null | |||||||
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| 33 |
https://www.elsewhere.co.nz/absoluteelsewhere/6933/britpop-in-the-rearview-mirror-2015-from-blur-to-beyond/
|
en
|
BRITPOP IN THE REARVIEW MIRROR (2015): From Blur to beyond
|
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[
"Graham Reid"
] |
2015-05-04T00:00:00
|
When Britpop was going off in the Nineties,
we had some cynical distance from the hype.
Life had taught us the
British press would build 'em up and knock 'em down. And this time
round with different clothes (shell suits?), a bit of anti-American
jingoism added (Who needs Nirvana when you've got Menswear, right?)
as well referencing the great heroes of the Sixties, Britpop looked... - BRITPOP IN THE REARVIEW MIRROR (2015): From Blur to beyond by Graham Reid
|
en
|
https://www.elsewhere.co.nz/favicon.ico
|
Elsewhere by Graham Reid
|
https://www.elsewhere.co.nz/absoluteelsewhere/6933/britpop-in-the-rearview-mirror-2015-from-blur-to-beyond/
|
When Britpop was going off in the Nineties, we had some cynical distance from the hype.
Life had taught us the British press would build 'em up and knock 'em down. And this time round with different clothes (shell suits?), a bit of anti-American jingoism added (Who needs Nirvana when you've got Menswear, right?) as well referencing the great heroes of the Sixties, Britpop looked as manufactured as Tony Blair's New Labour which embraced it.
But up close it was exciting.
In the mid Nineties I interviewed Shed Seven singer Rick Witter before a London show and he was witty and sharp, and later they played a great gig to a capacity crowd which knew every lyric of their two albums.
One of the most memorable gigs I've ever seen was Ocean Colour Scene at the 800-capacity Irish Centre on Digbeth Street in Manchester. Singer Simon Fowler told me they were filming it because they might never play a venue that small again. (That involved a very sad story backstage incidentally, see here.)
Then there was Oasis in a basketball stadium in Leicester a week after their triumphant Earl Court shows in London, and while the joke was true about their “act” – you might as well hold a postcard of them at arms length and jiggle it about a bit – they delivered a thrilling set. It was so good I went for a curry and lager afterwards just to complete the British experience.
And Pulp and Blur (Damon Albarn telling me about the symbolism of Fred Perry shirts) and . . .
So many bands, but so few making the leap beyond Britain.
Noel Gallagher told me hoped they'd become “a proper band, like U2” and be able to tour America (fat chance with volatile brother Liam), but when I came home and tried to talk about Ocean Colour Scene, Shed Seven, Cast, the Boo Radleys and even Suede, very few people wanted to know.
Black Grape were acceptable because they were just mad stoners (I'd seen them in New York and can confirm that, brilliant too) but you couldn't mention Ash in a pub conversation without being laughed at by those who'd neither seen nor heard them.
The hype around Britpop was so great it took good bands down with it.
Many groups stumbled on – nice to hear the Gallaghers may have buried their differences, they must need the money – but for every Blur (who have a new album The Magic Whip out with guitarist Graham Coxon back on board) there were a dozen like Gene, James, Mansun (really good live) and the Longpigs who couldn't get traction beyond the homeland fanbase.
The smart ones – Radiohead, Ride, the excellent Teenage Fan Club and World Party whose Karl Wallinger was one of the most cynical and smart men I'd ever met – put distance between themselves and the archetypal Britpop sound grounded in the zone between Bowie, the Beatles, the Kinks and the Who.
But -- if we don't look back in anger, or indifference – great pop came from that scene which celebrated itself.
Here are 10 albums (that aren't by Blur or Oasis) to check out . . .
Suede; Dog Man Star (94): Their self-titled debut was all camp Bowie, poppy and pretty good but this follow-up pushed into weird corners because writer/singer Brett Anderson was taking all the right if damaging drugs. Guitarist Bernard Butler quit too so there was tension in the songs. For more on Suede whose albums were reissued with extra discs go here.
Ocean Colour Scene; Moseley Shoals (96): Try to find the expanded edition of this terrific second album by a band favoured by Paul Weller and Noel Gallagher. As their album title suggests, they had soul in their rock'n'roll.
Pulp; Different Class (95): Purists will direct you to their early albums but this one – with their classic Common People, Disco 2000 and Sort For E's and Wizz – really is the one.
Black Grape; It's Great When You're Straight . . . Yeah (95): A band here for a good time not a long time. Post-Happy Mondays, singer Shaun Ryder pulled in hip-hop and created a loose collective ready to party. Pure ecstasy.
Elastica; Elastica (95): Stepping out of early Suede, singer Justin Frishmann and drummer Justin Welch formed this often troubled band which topped the UK charts with this exciting self-titled debut . . . and it was mostly downhill after that.
Supergrass; Road to Rouen (2005): Yes, their debut I Should Coco is essential Britpop but this later album which went overlooked in the colonies (top 10 in the UK) is a real sleeper-keeper.
James; Gold Mother (90): Later they would work with producers Youth and Brian Eno, but this, their third album, caught them at an early peak.
Ash; Intergalactic Sonic 7's (2002): Let's sidestep their fine 1977 debut and go for this compilation because Ash out of Northern Ireland were a superb singles band and this grab-bagged them all. There's an expanded edition with B-sides which proves their breadth. Go for that.
The Auteurs; New Wave (93): They only did four albums and each was very different but this debut should set you up for a voyage of discovery, even if you think the band name a tad pretentious.
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https://uketunes.wordpress.com/2023/03/12/britpop-the-songbook/
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en
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Britpop – Ukulele Songbook
|
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2023-03-12T00:00:00
|
This one has been brewing for a long time, but it was only in the last few weeks that I finally got round to doing something about it. And the final motivation? Well, next Monday I'm leading a session at Southampton Ukulele Jam where we're doing a "best of" of the theme nights that I've…
|
en
|
https://s1.wp.com/i/favicon.ico
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Uke Tunes
|
https://uketunes.wordpress.com/2023/03/12/britpop-the-songbook/
|
This one has been brewing for a long time, but it was only in the last few weeks that I finally got round to doing something about it. And the final motivation? Well, next Monday I’m leading a session at Southampton Ukulele Jam where we’re doing a “best of” of the theme nights that I’ve been doing over the last five years or so – nights that are based around these songbooks. But in choosing the songs, I realised that – well, to put it delicately – they’re all a bit old! Mainly 70s and a bit of 80s. And so I thought I needed to redress the balance by including something that was a little less than 40+ years old.
<songbook>
And so the Britpop songbook. I know, it’s not exactly current, is it? The newest of these tunes is getting on for 25 years old, so hardly contemporary, is it? But given the demographic of my “home” ukulele group (Southampton Ukulele Jam), and the desire to have something where more than 2 or 3 people know the tunes, this seemed to be a good bet. The deal was sealed with an afternoon spent cleaning out the car (rock and roll!) to a Spotify playlist of Britpop classics, which inspired much of the selections in this book.
But what about Britpop. Well, it’s fair to so that it has been much maligned of late – the case for the prosecution putting forward arguments of un-originality, stealing from the classics, and the “lad” culture that seemed to come with it. And it’s fair to stay that there is truth in some of those accusations. Taking inspiration from both classic British rock acts of past decades – The Kinks, The Small Faces and The Beatles were common reference points – and the indie and punk-inspired swagger of (particularly) the late 70s and 80s – The Smiths and The Jam in particular stand out as common touchstones, Britpop was a loose and somewhat ill-defined collection of artists who emerged in the early-to-mid 1990s,and – if they had anything in common – were something of a reaction against what was seen as the rather drab (and American) rise of grunge; bands like Pearl Jam and Nirvana.
Before there was even a scene, at the tail end of the 80s bands like The Stone Roses and The La’s were laying down a blueprint of sorts, whilst Manic Street Preachers were combining Punk and Glam and in another Britpop-inspiring thread. As a label, Britpop was largely an after-the-fact label applied to a cultural moment, rather than a strictly defined musical genre. But in that lies the seeds of its diversity (as hopefully this book shows).
But it was the early 90s when the bands that hang together under the Britpop label really started to shine. Both Suede and Blur – different in their own ways – were breaths of fresh air in a music scene that was, at the time, dominated by both grunge (at the rock end) and dance music. They brought something fresh and exciting that caught the imagination of an audience that had been deprived of a real home-grown scene, and suddenly things exploded. Long-time no-hopers Pulp suddenly found themselves in vogue, and started producing classic tunes that took a uniquely British perspective on everyday life, but did it with a swagger and confidence that they had never delivered before. And then there was Oasis, who swept all before them, and became the stadium-filling rock anthem behemoth that they are remembered for (aside from the constant in-fighting between brothers Liam and Noel).
Yet in that ascent lies the roots of Britpop’s demise. Oasis’s 1997 album Be Here Now – much anticipated, with the largest selling advance album sales up until that time – was a sprawling mess, the result of over-indulgences of all kinds – and the scene was never really the same once the fall-out from that had landed. Yet for a time, there was a sense of energy, hope and dynamism in the British rock scene in a way that there has never been since. And it’s legacy – if these tunes are anything to go by – is due some kind of reassessment (as I write, a three-part documentary series looking back at Britpop is due to start airing today).
Clearly what constitutes Britpop will forever be the subject of endless arguments. And so I’m not saying that this songbook is a definitive take on the matter. With plenty of contributions from the “big four” – rock anthem toting Oasis, glam-inspired Suede, kitchen-sink drama loving Pulp, and the always eclectic Blur – *my* definition of Britpop finds room for originators such as The La’s and The Stone Roses, the classic song-craft of Cast, the God Father figure that is Paul Weller, the chamber-pop of The Divine Comedy, the resurgent Edwyn Collins, and genre-crossovers from shoegaze’s Lush and Ride, alongside a whole host of others – some remembered, some half-forgotten – who had there moment in the sun in the mid-1990s.
What unites them all are great tunes, and taken together I hope you’ll agree that here is a treasure trove of songs that – in my opinion – are ripe for a ukulele re-discovery. Enjoy!
<songbook>
Below you’ll find the list of songs in the book, along with links for the individual song sheets.
Ash
Girl From Mars
Babybird
You’re Gorgeous
Blur
Country House
Girls And Boys
There’s No Other Way
The Universal
Cast
Alright
Fine Time
Walkaway
Catatonia
Mulder And Scully
Road Rage
Dodgy
Good Enough
Echobelly
King Of The Kerb
Edwyn Collins
A Girl Like You
Elastica
Waking Up
James
Laid
She’s A Star
Longpigs
She Said
Lush
Ladykillers
Manic Street Preachers
A Design For Life
Motorcycle Emptiness
Mansun
Wide Open Space
Oasis
Don’t Look Back In Anger
Live Forever
Rock ‘n’ Roll Star
Supersonic
Paul Weller
The Changingman
Pulp
Babies
Common People
Disco 2000
Do You Remember The First Time?
Ride
Twisterella
Shed Seven
Going For Gold
Sleeper
Inbetweener
Sale Of The Century
Space
Female Of The Species
Suede
Animal Nitrate
Beautiful Ones
Trash
Supergrass
Alright
Moving
Richard III
The Bluetones
Slight Return
The Boo Radleys
Wake Up Boo!
The Charlatans
The Only One I Know
The Divine Comedy
Something For The Weekend
The La’s
There She Goes
The Stone Roses
I Am The Resurrection
She Bangs The Drum
The Verve
Bitter Sweet Symphony
Lucky Man
The Drugs Don’t Work
And finally, if you need reminding how good these tunes are. Or if you just want to wallow in nostalgia, here’s a playlist with all the tunes in the book.
|
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| 3 |
https://faroutmagazine.co.uk/true-story-inspired-pulp-classic/
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en
|
The true story that inspired a classic Pulp song
|
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2023-06-10T09:00:00+01:00
|
Pulp frontman Jarvis Cocker shares the true story behind the band's 1995 Britpop anthem 'Disco 2000', an unrequited childhood crush called Deborah.
|
/favicon.ico
|
Far Out Magazine
|
https://faroutmagazine.co.uk/true-story-inspired-pulp-classic/
|
In the mid-1990s, alternative music made its way into the mainstream in the form of Britpop. Artists that were producing characteristically British indie rock found success amidst a landscape that prioritised lad culture and guitar music. At the centre of this movement was a band called Pulp, a Sheffield-born indie pop outfit led by Jarvis Cocker, who, amongst their peers, Blur and Oasis, became known as one of the pioneers of the genre.
Though Pulp had formed in the late 1970s, they only found real mainstream success with the release of their fifth album, Different Class, in 1995, which secured a number one hit in the charts. The record featured their most popular hit and Britpop anthem, ‘Common People’, as well as perhaps their second most famous track, ‘Disco 2000’.
‘Disco 2000’ is an ode to Cocker’s childhood crush, Deborah, soundtracked by twinkling instrumentals, Britpop guitar, and a disco-infused riff inspired by ‘Gloria’ by Laura Branigan. The lyrical style of the track is symbolic of its time and genre, detailing Cocker’s pitiful yearning after a popular girl during puberty.
Jarvis Cocker shared the story of the real Deborah, who inspired the track, during an interview with Liz Kershaw for BBC 6 Music. He stated: “I haven’t got much of a sense of imagination, so a lot of our songs are just straight, true stories”. The track is mostly a true story, though Cocker had to take some creative liberties to make the song work.
He added: “There was a girl called Deborah – she was born in the same hospital as me – not within an hour – I think it was like three hours – but you can’t fit three hours into the song without having to really rush the singing! (‘We were born within three hours of each other’) It didn’t work! So I took poetic license and cut it down to an hour”.
Other than the slightly exaggerated birth time, Cocker recalls that the only other aspect of the lyrics that played with the truth was the description of Deborah’s woodchip wallpaper. He said: “But basically, you know, the whole thing was the same – I fancied her for ages, and then she started to become a woman, and her breasts began to sprout, so then all the boys fancied her then.”
The track’s second verse charts Deborah’s transformation and Cocker’s hopefulness as he sings: “Oh, the boys all loved you, but I was a mess”. Cocker still backs the futile nature of his yearning, stating: “I didn’t stand a ‘cat-in-hell’s chance’ – but then I did use to sometimes hang around outside her house and stuff like that”. Still, Cocker and ‘Disco 2000’ muse Deborah Bone were firm childhood friends.
Before she passed away in 2015, Deborah was awarded an MBE for her work in youth mental health. She also detailed her own memory of Cocker’s crush on her in a blog post. Seemingly flattered by the track, she wrote: “Born in Sheffield, my claim to fame is growing up and sleeping with Jarvis Cocker, well someone had to do it, and it was all perfectly innocent! I have been told and like to believe that I am the Deborah in the number one hit ‘Disco 2000’, but we never did get to meet up by the fountain down the road”.
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https://casa-musica.com/en/single-tracks/18843-disco-2000-discofox-34.html
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en
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Disco 2000 (Discofox 34)
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You may unsubscribe at any moment. For that purpose, please find our contact info in the legal notice.
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https://english.stackexchange.com/questions/251758/should-names-of-styles-or-genres-be-capitalized
|
en
|
Should names of styles or genres be capitalized?
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2015-06-11T09:24:11
|
Musical styles, for instance. Specifically I am dealing with choosing "blues" or "Blues"? I assume it would be the same for visual art styles.
|
en
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https://cdn.sstatic.net/Sites/english/Img/favicon.ico?v=52ad6b0c151a
|
English Language & Usage Stack Exchange
|
https://english.stackexchange.com/questions/251758/should-names-of-styles-or-genres-be-capitalized
|
I'm an arts journalist, so I read (and write) a lot of material which is relevant to this question. I would say: no, the overwhelming majority of writers don't capitalise the names of genres.
I admit that I do have an instinct to capitalise "blues" - I think that's because it's often referred to as "the blues", which makes it sound more like a proper noun than other genres do. But it would be very strange to capitalise "Rock", "Pop" or for that matter "Classical", so for consistency "blues" shouldn't have a capital either.
The obvious exception is when the genre is named after a person. So for example, "Brechtian" theatre gets a capital B, because it's named after Bertolt Brecht and acquires its capital from him.
This question is very similar to the Capitalization of Artistic Trends on ELU.
It seems there's no agreed answer, partly because we can equivocate over how to define artistic movements/styles/genres etc, particularly when many terms are also used more generally.
I'd say... do what you want. If you need an authority, though, here's one.
Don't capitalize genres (use opera, symphony, jazz-- not Opera, Symphony, Jazz). Remember this rule by thinking about genres in literature: you wouldn't capitalize Novel, Short Story, or Poem, either. - University of Richmond Writing Centre
I do like the point made by Morton (who posted while I was still typing this answer) about the seeming proper noun quality of The Blues, though.
|
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https://www.treblezine.com/10-essential-post-britpop-tracks/
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en
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10 Essential Post
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2018-03-22T16:46:19+00:00
|
10 tracks that carried Britpop's aesthetic into a new era.
|
en
|
Treble
|
https://www.treblezine.com/10-essential-post-britpop-tracks/
|
In the avalanche of genre division that’s marked alternative music throughout its existence, it’s sometimes hard to find clear differences between styles that follow each other closely on the calendar. Weirdly enough, we can pretty easily tell when and where Britpop ended and post-Britpop began. Through the 1990s Britpop rose out of college rock traditions sounding somehow both chunky and languid, positioning pseudo-psychedelic UK attitudes and artists—led by Oasis, Blur, Suede, even the class-warring Pulp—against the murkier scene of American grunge. As the 21st century dawned, these bands and their fanbases tired of eating their own, fading into the static of increasingly dated sounds, solo projects, breakups and hiatuses and reunion tours.
In their place came the post-Britpop movement, adding in elements of other genres like divided ingredients to a recipe. It started with a whole mess of folk and pop from emotive singer-songwriters, eventually followed by the jagged sonic cliffs and chasms of post-punk. It even managed to incorporate beeps and grooves from dance-rock contemporaries. But now it too feels like the music of a bygone era, not so much because of any rush to instant nostalgia but because its energy faded quickly as well—big sales but no soul for some artists, little sales and therefore no outlet for others. Like disco, post-Britpop had a brief and brilliant golden age. While we always hope that musicians still have something resembling the best yet to come, let’s look at 10 essential post-Britpop tracks that make the best of what’s still around.
Travis – “Why Does It Always Rain On Me?”
from The Man Who (1999; Independiente/Epic)
One big demarcation between Britpop and post-Britpop was the latter artists’ willingness to clearly sing about love and loss, and deliver it with appropriate melancholy and gravitas. Travis’ second album The Man Who departed from the more upbeat offerings of their debut, and was loaded with Fran Healy’s wavering confessional vocals (“Writing to Reach You,” “Driftwood”). This was the Top 10 hit of the set, however, a pleasantly muted, ultimately sad stomp that could easily have been lifted from the songbooks of The Kinks, Morrissey, or Suede. – AB
Badly Drawn Boy – “Once Around the Block”
from The Hour of Bewilderbeast (Twisted Nerve/XL)
After a decade or so defined by a renewed sense of glamour (however ironic that might have been in light of Pulp’s “Common People”) a slide back into anorak and eventually plainclothes looks found the post-Britpop age defined by a certain Average Joe sensibility. At least until Coldplay wore colorful uniforms in support of Viva La Vida. Nobody embodied this aesthetic as iconically as Damon Gough, aka Badly Drawn Boy, who’s essentially never been seen without his knit cap. The man came correct with his debut album The Hour of Bewilderbeast, however, anchored by this jazzy lead single that balanced a sense of charm and romance with an intricate, intoxicating arrangement. Warm and fuzzy? Certainly, but there’s a sophisticated musicality about it that’s magic. – JT
Coldplay – “Yellow”
from Parachutes (2000; Nettwerk)
Much as U2 parlayed their earnest bombast into a position as arena-dad-rock staples, Coldplay of today look nothing like Coldplay of near 20 years ago. Parachutes found young Chris Martin and company still exploring the intimate and the personal, and may have been a far different album had “Yellow” not been created late in its recording. The band were adept at setting relatively positive lyrics against music that suggested the opposite. This song’s particular juxtaposition of the theme of devotion with Neil Young-inspired delivery—the memorable guitars, Martin’s fragile tenor on “foooooorrrrr you” and “your skiiiinnnn”—melted hearts worldwide. – AB
Doves – “Catch the Sun”
from Lost Souls (2000; Astralwerks)
The early ’00s brought about a flood of new bands from the UK that carried on a new tradition of melodic guitar rock, admittedly more inspired by The Verve and Radiohead than Blur or Oasis. Doves weren’t exactly new at the time, however, having launched their career as SubSub, with a sound rooted in house rather than rock. But debut album Lost Souls immediately distinguished them as a force of nature, particularly the lead single “Catch the Sun.” Anthemic and powerful while maintaining a kind of post-punk gloom, “Catch the Sun” boasted all of the hooks of Britpop with a more complex matrix of layers and atmosphere. Still, it’s the chorus that makes it a song to still scream from the rafters after 18 years. – JT
Delays – “Nearer Than Heaven”
from Faded Seaside Glamour (2004; Rough Trade)
Hearing “Nearer Than Heaven” for the first time, one can’t help but be mesmerized by Greg Gilbert’s angelic voice, which boasts a breathtaking range that few contemporaries could match. But Delays’ knockout single was much more than just the voice. It’s a perfect three-minute blend of early ’90s influences (Stone Roses, Cocteau Twins, “Wicked Game”) into one glorious Glastonbury Festival lineup of a stylistic mashup. The execution is intoxicating and the romance built-in. And if the edges seem sanded off—or just non-existent—then mission accomplished. When invoking Heaven, best to offer the illusion that it’s already here. – JT
Franz Ferdinand – “Take Me Out”
from Franz Ferdinand (2004; Domino)
Indie rock in general doesn’t have many anthems, those cuts you instantly recognize piped out of countless PA systems, radio rotations, or media placements. You’d be forgiven if only “Seven Nation Army” came to mind, but I’d like to suggest this Scottish band’s breakthrough single as well. It honed the guitar skronk of post-punk acts like Gang of Four and The Fall into something that hoi polloi hipsters could shake hips and pump fists to. It was also a sly lyrical double entendre: a distant-relationship song at first glance, then a shadow biography of the band’s namesake Archduke of Austria whose assassination precipitated World War I. – AB
Art Brut – “Bad Weekend”
from Bang Bang Rock and Roll (2005; Fierce Panda)
When Art Brut emerged in the mid-’00s, they had a sound that referenced many of the same influences as bands from the Britpop era (The Fall, Television Personalities), but with an unabashedly self-deprecating and nerdy sensibility. Had they only released one album, it’d be easy to assume they formed simply for the sake of being a meta-commentary on British pop music. “Bad Weekend,” which features one of the best riffs they ever wrote—as well as the best chorus—is a funny if biting critique of hype traps. “Haven’t read the NME in so long, don’t know what genre we belong,” sings vocalist Eddie Argos before returning to the refrain, “popular culture no longer applies to me.” It’s cynicism with a wink, a shrug and a whole lot of rocking out to do. – JT
Bloc Party – “Banquet”
from Silent Alarm (2005; Vice)
Introductions are rarely this perfect. Bloc Party’s irresistible recipe made up of punchy drums, groove injected guitar-bass interplay, and Kele Okereke’s magnetic howl of a voice fused into a lead single that carried the band’s hype for a year. “Banquet” was a speeding bullet, running well ahead of the NME echo chamber that engulfed so many British upstarts in the early 2000s. The writing was so blatantly on the wall that Okereke managed to wink at the late comers. “And if you feel a little left behind we will wait for you on the other side.” And they did, offering “Banquet” on the band’s debut Silent Alarm a whole year after it debuted on their self-titled EP. Those of us who knew didn’t mind, and for those who didn’t it was well worth the wait. – WW
Maximo Park – “Apply Some Pressure”
from A Certain Trigger (2005; Warp)
By the time Maximo Park arrived, Bloc Party and Franz Ferdinand had each taken the step of bridging post-Britpop with the post-punk revival. So this herky-jerky anthem in Robert Longo dressing wasn’t necessarily the surprise revelation that “Banquet” or “Take Me Out” were. But like Elastica proved in 1995, you don’t have to reinvent the wheel to make a better ride, and “Apply Some Pressure” delivered an early peak for the band, with its rhythmic twitch and soaring climax of “What happens when you lose everything? You just start again. You start all over again.” It’s not often mentioned as being in the same league as breakthrough singles such as “Banquet” or “Take Me Out,” but it more than earns the distinction. – JT
Arctic Monkeys – “I Bet You Look Good on the Dancefloor”
from Whatever You Say I Am That’s What I’m Not (2006; Domino)
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https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
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en
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"Disco 2000" speaks beyond its titular year
|
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"Benjamin Kassel"
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2022-04-02T07:00:00+00:00
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
|
en
|
Unfortified Castle
|
https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
Like all media, the perception of pieces of music tends to shift over time. Pieces that were once controversial may now be seen in retrospect as trailblazing; the pop with which we fell in love in our formative years may now seem all too saccharine or out of touch; social anthems only become more poignant as the issues they confront increasingly manifest.
Today’s selection has seen a perceptual shift for none of the above reasons — instead, it’s the temporality baked into the song that makes it all the more curious to investigate.
Back when Pulp released "Disco 2000" as part of their album Different Class, that millennium year was still more than four trips around the sun away. It was late 1995, and frontman Jarvis Cocker and company looked toward the year as a time by which they could get things right; going by the song’s narrative, 2000 was when Cocker and his childhood friend could meet up again, now fully grown and living their own lives. However, I approach the song having been born in 2000 and thus always thinking of that year in the past tense. When I hear "Let’s all meet up in the year 2000," I think of it as a return to blissful innocence, rather than a look ahead to a clearer future.
As different as these two perspectives on the song are, though, a common thread can be found: a desire to get away, to free oneself from the shackles of one’s current place and time. Whether past or present, 2000 is at the very least somewhere different, and that in itself makes the tune appeal to a wide audience.
Musically, "Disco 2000" owes a lot to the genre in its name. Nick Banks’ four-on-the-floor beat and hi-hat use calls right back to the inception of disco with the Trammps and other trailblazers, while the high synth is just string-like enough to further pay tribute to that era. Then there’s the undeniable similarity of the main verse riff to that of "Gloria," made popular by Laura Branigan in 1982. Having said that, there’s no mistaking Pulp’s track for a 70s or 80s romp — the treatment of the drums and the mix of Russell Senior and Mark Webber’s guitars all suggest the burgeoning Britpop scene of the 90s, of which the band, among all its tumult, were key figures. Personally, I’ve always felt like the instrumental bordered on sounding a little cheesy, but maybe that’s just an effect of me having not lived through the 90s and embraced that sound in its heyday.
As much as those aspects of the track interest me, though, it’ll stand out to me more because of Jarvis Cocker’s lyrics. The childhood crush-themed narrative, parlaying early innocence with the later resignation of life taking its course, stands out to me for its realism. There’s something approachable about lyrics of the "very small" house "with wood chip on the wall," and the pining for an old love — even one-sided — when you’re "living down here on [your] own." It probably helps that Cocker is drawing from personal experiences; "Deborah" is based on his early friend Deborah Bone (1963–2014), for whom he sang "Disco 2000" at her 50th birthday party (a little awkward, maybe, given the lyrics? All in good fun regardless).
As I listen to Pulp’s song once more while I wrap up this post, I think I get why "Disco 2000" has so consistently transcended its temporal bounds. The dance-friendly rhythms combined with the nostalgic narrative those beats soften all in all make me feel like the track inhabits a moment of reflection a drink or two in at your local club. You want to get up and move, but your thoughts are plagued by memories of that person you always thought got away. When you do make your way to the floor, you do so either to combat those memories, or to get lost in them (I’d say more the latter here). That’s a sensation not bounded by any year.
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| 69 |
https://www.musicbloggersnetwork.com/pulp-different-class-1995/
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en
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Pulp – Different Class (1995)
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"Music Bloggers Network"
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2020-04-11T14:10:00+00:00
|
Pulp's Mercury Prize-winning, platinum ranked, fifth studio album Different Class is a superlative album for lovers of authentic Britpop !
|
en
|
https://www.musicbloggersnetwork.com/wp-content/themes/the-musicocrazy/favicon.ico
|
Music Bloggers Network - For Music Lovers, By Music Bloggers
|
https://www.musicbloggersnetwork.com/pulp-different-class-1995/
|
Even though the Sheffield based, English alternative Britpop band Pulp was around for over fifteen years when this hit album was released (in 1995 in England and 1996 in the United States and beyond), they never made much of a ripple outside of the United Kingdom, their home base. This Mercury Prize-winning, platinum ranked, fifth studio album Different Class, however, changed it all making them popular all over Europe, the US, Australia and even Japan marking a revival of sorts in the Britpop genre. NME magazine went as far as to rank it as one of the 500 Albums of all time, a distinction it still holds at number 6.
The success of Different Class is understandable. This album does have a different flavor compared to all their previous releases and also the other brit albums of those years when you factor the likes of Oasis, Blur or Suede. A significant mention is that Different Class has a more potent lyrical content than any brit album of the 90s, with vocalist Jarvis Cocker‘s songs about longing, contempt and jealousy bringing to mind a younger Leonard Cohen.
On the opening track, “Mis-Shapes“, Cocker declares war on the filthy-rich upper class (“We’ll use the one thing we’ve got more of — that’s our minds”). Over the course of Different Class, Cocker and Pulp put their minds where their mouths are. On the super hit and probably the best known Brit Pop anthem “Common People“, Cocker plays a poor man approached by a rich young girl who tells him, “I want to live like common people.” The man gives in at first, but then tells the girl that she will never be common because, “when you’re laid in bed at night watching roaches climb the wall/ if you called your dad he could stop it all.” In the end, the man understands the girl’s wish to be a commoner (“You are amazed that they exist and they burn so bright whilst you can only wonder why”).
On “I Spy“, Cocker plays the part of an adulterer (“I’ve been sleeping with your wife for the past 16 weeks/ smoking your cigarettes/ drinking your brandy/ messing up the bed that you chose together”). The reason for the man’s interest in the affair isn’t love or sex, but revenge. He even hopes to get caught in the act, just to ruin the husband’s life.
Next, “Disco 2000” tackles the subject of heartfelt longing as well as any song ever has. On this track, Cocker tells the tale of two children born the same day: the boy grows up to be a misfit and the girl becomes Ms. Popular. The misfit describes his longing for the girl and the pain he felt as a teenager watching “others try and get you undressed. Different Class reads like a novel, with the songs written here about so far only bringing you up to the fifth track! You may consider some of the music is average 90s Brit-pop material, but Cocker’s lyrics lift every song up to the next level.
When the music is as on target as the lyrics, such as on “Disco 2000” and “Common People,” Pulp strikes a deep nerve. With this album, Jarvis Cocker and Pulp make an album that is truly in a class by itself, especially if you are a lover of authentic British Britpop/Britrock!
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dbpedia
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https://www.godisinthetvzine.co.uk/2014/02/28/britpop-month-ben-p-scotts-musical-memories-from-1995-part-1/
|
en
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Britpop Month: Ben P Scott's Musical Memories From 1995 Part 1
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[
""
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[
"Ben P Scott"
] |
2014-02-28T00:00:00
|
(continued from HERE)
|
en
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God Is In The TV
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https://www.godisinthetvzine.co.uk/2014/02/28/britpop-month-ben-p-scotts-musical-memories-from-1995-part-1/
|
(continued from HERE)
As 1994 turned into 1995, something exciting was coming to life within the music world as Blur, Oasis and lots of others were beginning to shake things up in a massive way. By this point, aged ten I had become a fan of both aforementioned bands, although I wasn’t ignoring the other stuff in the charts. Back then, there seemed to be something for everyone. It’s why I argue that the 90’s was the best decade of all time, since it had absolutely everything. Just have a look at the singles chart back in 1995. There was the phenomenon of indie going overground, a time when the alternative was becoming a huge part of the mainstream. There was also electronica, american rock, trip hop, cheesy euro-dance, as well as the AOR acts, rap groups and weak boybands. There was so much to choose from. The radio also seemed to reflect this, even the local station GWR was playing a varied mixture of stuff. Well varied compared to the horror that the station descended into a few years later before being bought out by the ghastly Heart FM. Radio One had a bigger playlist and would play stuff that GWR’s presenters wouldn’t have been aware of. So even though the radio reception was weaker for Radio 1, and the presenters seemed to talk a lot more, it became my station of choice. However, I still settled for GWR whenever I couldn’t get a good R1 reception, because in 1995 it didn’t sound that bad to me.
As I’ve mentioned in previous columns, my Dad managed a club in Corsham, where the DJs at the time would play a mixture of dance hits, club mixes of pop songs and house music. Of course this made me think of how cool it would be to get paid for playing records, and yes I did indeed want to be a DJ one day. But what sort of a DJ was I going to be? I had a major love for classic and alternative music but the sound of the clubs was beginning to make an impression on me. My dad had also developed a fondness for dance music, perhaps it was from running a club or perhaps it was his way of showing that his age didn’t mean he was entirely out of touch. Of course sometimes he was a bit: he was impressed by a mixtape that included a ridiculous amalgamation of The Grid‘s ‘Swamp Thing’ and George Formby‘s ‘When I’m Cleaning Windows’. At this time I myself was (for some unknown reason) impressed by this as well, perhaps because I thought the songs on the tape had all been mixed by the club’s resident DJ. But after hearing the Grid/Formby mash-up on the radio, I realised that this was not the case.
I’d discovered Blur the year before, and now in February 1995 the band sensationally swept the board at that year’s memorable Brit Awards. You could feel the excitement everywhere, and there was a sense that this group had set a new standard. It felt like this was how things were going to be from then on. It was too good NOT for it to stay that way. Well, that’s how it felt at the time anyway. The day after the Brits, the band were household names as well as critic’s favourites, and became part of the British culture that had inspired ‘Parklife’. I had a recorded copy of it on tape, but this was undoubtedly THE album of the time. So essential that I NEEDED to own a proper copy, and indeed I did end up owning one, purchased on cassette from WH Smith’s in Swindon. From what I can remember, I also bought the Simple Minds single ‘She’s A River’, which I probably got because I might have had a pound left after buying Parklife. I can’t think of why else I would have bought it at the time, since I didn’t have a clue who Simple Minds were.
I was lucky enough to be around as Britpop was on its way to becoming the most phenomenal musical movement in years. As a ten year old kid, it seemed even more thrilling to me. And it all happened at just the right time to influence my life in a massive way…
During the same week that Blur swept up at the Brit Awards, I also made my debut as a DJ aged just ten years old. My Dad managed a club, and it was there where I would become interested in the art of spinning records and filling dancefloors. I also became fascinated with the concept of mixing two songs together, something that I was hearing on dance compilations as well as from the DJs at the club. With a function room upstairs the club was also the ideal venue for my brother’s 7th birthday party, and if I could learn how to use the decks and the mixer, then I would be the DJ. It took a while, but I eventually learned. My DJ debut at that party was by no means a demonstration of turntable wizardry, since I was just crossfading tracks rather than mixing the beats together, and I was also using one turntable, a CD player and a tape deck. Plus how could I have mixed the music that I was playing? It was hardly Jive Bunny.
‘Strawberry Fields Forever’ failed to get a room of six year olds rushing to the dancefloor, and I couldn’t figure out why. My attitude was “It’s a great song, so dance to it!”. None of my Bowie records inspired any movement either. There was a slightly more enthusiastic reaction to Blur, but in the end I had to resort to sticking on a chart hits compilation and breaking up the songs with bits from a party mix tape. I also recall having a terrible hairstyle and a brightly coloured waistcoat on, since my Dad would frequently wear one behind the bar and I was very much like a mini version of him. I also remember refusing to dance with an admiring girl that my brother had invited from his class. I was a bit shy yes, plus a three year age gap feels like a whole generation to a ten year old. But I took the stance that a DJ shouldn’t dance. It’s uncool. I play the records, THEY will dance. Perhaps because I wasn’t exactly cool and popular at school, it meant that I needed a way to feed my ego. DJing gave me that. And when I eventually became quite good at it, the ego became more of a confident sense of achievement. But I didn’t become any good at it until I had learned more about dance music and embraced house.
In early 1995 I would just play novelty dance hits, new chart singles, well known classics and songs from my favourite new bands Blur, Suede and Oasis. I had at that point only heard one Oasis single ‘Whatever’, along with its electrifying B side ‘It’s Good To Be Free’, but very soon a car journey to Yorkshire and the arrival of the band’s next single would make them my heroes…
It was March 1995. I had been listening to Blur’s ‘Parklife’ constantly, along with the Oasis single ‘Whatever’ and Suede’s ‘New Generation’. My Auntie Julie and Uncle Justin were both fans of these bands too, and Julie owned a copy of the debut Oasis album ‘Definitely Maybe’. Along with my Mum, my younger brother, Justin and Julie, I came along to visit my Auntie Karen and Uncle Phil, who lived in Barnsley with my three cousins. This involved a long car journey during which my ‘Parklife’ tape became a singalong road soundtrack, but we also had to listen to one of Justin’s tedious M People albums along the way. He always did have a varied taste. Everyone agreed that Freak Power‘s ‘Turn On, Tune In, Cop Out’ was “shite”. But when Julie put on ‘Definitely Maybe’, hearing those songs for the first time was too exciting to put into words. It blew my mind and confirmed that this band were something truly special.
When we eventually got to Barnsley, the first thing I did was purchase a blank tape so Julie could record a copy of it for me. There are lots of things I remember about that week, like my Uncle Phil trying to convince me that Sting‘s solo stuff was good, and a birthday party disco for Karen and Phil’s birthday, where I heard Green Day‘s ‘Basket Case’ for the first time. I can remember hearing Michael Jackson‘s ‘Thriller’ album being played a lot that week, and also recall visiting a Barnsley record shop and finding an interesting item in their bargain bin; a CD copy of the Sparks single ‘When I Kiss You (I Hear Charlie Parker Playing)’. Considering I hadn’t heard the song, it was a very random purchase for a ten year old to make. That week and the car journey that preceded it will always have a place in my memory, perhaps because life changed after hearing ‘Definitely Maybe’. After Blur had won all the Brit awards that year, to a certain extent, Oasis were in their shadow, but after hearing that debut album I just knew they’d become extraordinarily huge.
April of that year saw the release of a new Oasis single, the first to be taken from their second album. ‘Some Might Say’ had all the giddy excitement and wide eyed optimism of the time, and hearing it 18 years on instantly evokes nostalgic memories of a hugely exciting time for British music. Growing up with these brilliant new bands of the time was vital. My interest in music had been growing for a couple of years, and now I found myself witnessing the rise of guitar bands during a time when the underground burst its way in to the mainstream, the most thrilling time for popular music since punk. As well as a fantastic live act, the off-stage antics of Oasis had made it into the music press, and soon the tabloids would pick up on the band.
There was a small comic shop in Corsham called American Dream, which also sold a small range of CDs, the only place in the town that you could buy music from. I bought ‘Some Might Say’ from there during the week it was released and played it repeatedly when I returned to the nearby flat my Dad occupied at the club he managed. I remember trying to get my head around that weird sleeve and what the hell it was all about, and then the lyrics helped it all make sense “the sink is full of fishes… standing at the station in need of education…”. I also remember Paul the barman at the club asking if he could have a listen to it on the music system in the bar, but it wouldn’t have been a favourite of my Dad’s. Although there would soon come a time when the bar would HAVE to play Oasis, my Dad dismissed them as well as Blur, saying that they were both the same thing and were both just “boy bands” copying groups from the past. He seemed to be the only person who disliked these groundbreaking bands at the time, although now he’d probably recognise both as the greats of the era.
‘Some Might Say’ made it to number one and confirmed that Oasis had not only broken into the mainstream, but were beginning to make their presence known. The CD also featured three additional tracks which left me stunned that a band could just throw such incredible songs onto the B sides of singles. Here they actually perfected the art of the four track CD single, and years later it seems to stand as the format’s greatest moment. The storming ‘Acquiese’, featuring the vocals of both Gallagher brothers, and ‘Talk Tonight’ allowed me to hear Noel singing for the first time, since at that point I only owned ‘Definitely Maybe’ and the cassette edition of the ‘Whatever’ single that didn’t feature ‘Half The World Away’. Liam blasting through ‘Headshrinker’ remains a mind blowing moment and one of his finest vocals.
Another single I purchased from American Dream at around the same time was the breathtaking ‘Haunted’, an old Pogues b side reprised as a duet between Shane MacGowan and Sinead O Connor. It was good hearing Shane’s gruff tones countered by such a delicate female voice, and what a lovely song too. Should have received more airplay, and should have been a bigger hit. Can’t complain though, in 2013 it wouldn’t have got anywhere near the charts. My fondness for The Pogues continued, and at some point during 1995 I borrowed various Pogues albums from the local library to record and add to my tape collection. These included the superb debut ‘Red Roses For Me’, and the not-so superb ‘Waiting For Herb’, an LP recorded after Shane had been booted out of the band. ‘Sitting On Top Of The World’ and the beautiful ‘Tuesday Morning’ were my favourites from that one… The other tracks paled into insignificance.
‘Some Might Say’ was also included on a Various Artists compilation album I bought around about the same time. As well as featuring ridiculous but fondly remembered novelty fun such as Scatman John and total bilge like that year’s Eurovision entry by the appalling Love City Groove, the cassette also featured the massively infectious ‘A Girl Like You’, my introduction to the magnificent talent of Edwyn Collins. The reason I began buying compilations of chart hits was because I was slowly but surely learning the art of DJing, and May ’95 saw the 50th anniversary of VE Day, an occasion that the country seemed to revel in. The club was celebrating the event with a day of drinks promotions and a 1940’s themed disco throughout the day. There were only so many Glenn Miller records and WW2-themedJive Bunny mixes I could play, so as the day went on the disco gradually focused on more contemporary stuff, including some of the chart hits of the time (Rednex, N-Trance and dance remixes of Celine Dion tracks) and a double LP of summer-themed tunes from The Beach Boys, Katrina And The Waves and Mungo Jerry. Must have been a hot day. But I can remember that being the day that I could finally consider myself to be a good DJ and being able to operate the decks and mixer without making too many errors. Soon the club’s resident DJs would be sacked and replaced by a new higher profile DJ who did the Thursday and Friday nights, but taking control of the Saturday night disco would be me. And I was only 10 years old at the time. Great days…
June 1995 was memorable, as was the rest of the year. As is sometimes the case now with manufactured boy bands, when a group became a pop phenomenon, publishers would see an opportunity to cash in by releasing “unofficial” magazines featuring stories and lots of posters. In a short space of time, Blur had come a long way and by this point had become a household name after their triumphant night at that year’s Brit Awards. I was still buying Smash Hits, which at this point was featuring more of Blur, Oasis and a growing number of other guitar bands. Because of the pull out posters that came inside the magazine, my bedroom walls were covered with Blur and Oasis, as well as a few Chelsea football posters. At the time all I knew was classic music from the past and the chart hits of the day, so Smash Hits didn’t seem like it was missing anything. It featured people I liked and people I didn’t like. I remember wishing that guitar music would become big enough to take over the magazine and banish all those rubbish boy bands from its pages. It wouldn’t be too long before that came close to actually happening.
As the summer holidays were approaching, we were entering the last few months at primary school, and to mark the occasion the class and our teachers went camping in the Wiltshire countryside for a week. It also happened to be the week of my 11th birthday. The clearest memories I have of this included bringing a Blur magazine on the trip and reading it a lot. I remember me and my mate (and tent partner) Mark putting on some “hair gel” in an attempt to look smart for the evening, only to find that it was some sort of weird gel shampoo. And since someone as legendary as John Peel can write about shitting his pants on a bus in his autobiography, then I can also admit to a toilet-related accident of my own that happened during a long walk back from Stonehenge. I have recently uncovered some photos from this trip, taken back in 1995. As soon as I’ve figured out how to work my scanner, those will appear in a future column maybe. I also found photos taken on my brother’s birthday party that marked my debut as a DJ.
Although I wasn’t keen on some of the boring releases from older AOR artists and the squeaky clean boy bands who had formed in the wake of Take That, there wasn’t a lot of music I disliked back then. As a kid growing up in the mid 90’s, I would hear all sorts of different stuff on the radio, and although the overall selection would be limited, there were enough different genres played to give the mainstream radio stations a sense of variety. I say “mainstream” stations as if there were any other choices back then. There weren’t.
In the UK during the 90’s there were a lot less radio stations around than there are today, so because there were no specialist stations where people could hear their preferred type of music, everyone had to listen to the same thing, meaning that the main stations had to cater for everyone. This meant that as well as the main pop hits, they’d also have to pick a number of indie, dance and other tracks. In fact most people would listen to Radio 1 or their local commercial station (ours was Wiltshire’s GWR FM). There were no specialist stations apart from Classic Gold (which played hits from the 50’s, 60’s and 70’s), Classic FM (which played classical) and the dance orientated Galaxy 101. Radio 2 was seen as old, uncool and out of touch, as were the local BBC stations. All the other stations were all on MW or LW frequencies, which meant poor sound quality. So by default most people listened to Radio 1 or their local station. Everyone from different walks of life would all be tuned into the same thing. It was something that couldn’t happen in 2013: lots of different types of music being played in the same place, with lots of different people listening. The closest thing you could get to one nation under a groove.
With Britpop rising, daytime radio would allow a limited number of indie songs on the air, and because those songs were the only indie tracks being played regularly, the indie fans would focus on those songs more than they would have if the whole playlist was made up of that style. They stood out. Plus the fact indie music was played on mainstream radio meant that the neutrals had a chance to hear it alongside everything else and it even meant that some pop fans were converted to indie. I would easily describe my 11 year old self as a neutral listener who would listen to all genres, but I had definitely become more of an indie and dance fan, although I hadn’t yet developed a distaste for cheesy pop music. I was lucky to have grown up during a time where everyone was hearing and buying such a diverse range of music. It enabled me to sample everything that was on offer and make my decisions as to what I liked the most. If I’d been unlucky enough to grow up in the current decade, I’d have no chance of hearing indie within the mainstream.
Because my tastes were varied and the musical climate was too, the DJ sets I did at the club my Dad managed always delivered a good mixture of stuff. A few examples from around about June ’95-ish… Rednex – ‘Cotton Eye Joe’, N-Trance – ‘Set You Free’, Paul Weller – ‘The Changingman’, Perfecto Allstarz – ‘Papa’s Got A Brand New Pig Bag’, McAlmont And Butler – ‘Yes’, Alex Party – ‘Don’t Give Me Your Life’, Edwyn Collins – ‘A Girl Like You’,The Bucketheads – ‘The Bomb! (These Sounds Fall into My Mind)’, The Boo Radleys – ‘Wake Up Boo’, Strike – ‘U Sure Do’, Grace – ‘Not Over Yet’, Oasis – ‘Some Might Say’…
OK, Rednex were ridiculously shit, but at least they weren’t dull. Nowadays rather than exciting variety, what’s classed as the “mainstream” is mostly boring homogenised nonsense that all sounds the same. In fact there isn’t really a mainstream anymore, certainly not one that represents the many different sections of listeners that make up this country. Everyone likes to stick to their own thing and hear more of it, rather than having to put up with stuff they don’t like while waiting for something good to come on. Indie fans listen to the indie stations, commercial pop fans listen to what are now commercial pop stations, and so on.
We’re not all tuned into the same thing and experiencing each other’s music anymore. In the 90’s it was a shared experience and most of the nation was the audience. Today, it feels like we all live in our own little worlds when it comes to music. Britpop was to be the last time that the nation would unite and sing together in harmony… What a fantastic time to be a kid.
Back then, I was under the impression that the records David Bowie released from 1971 to 1974 were the main ones that needed to be heard. That changed when I bought a cassette of ‘Station To Station’ from the HMV in Bristol. The opening title track was an extraordinary mini opus that took my ears on a journey, a paranoid multipart groove that was one of the most infectious things I had ever heard. The music on that record taught me yet another side to Bowie, and despite being only six tracks long, it delivers more than enough in terms of essential music. It’s a masterpiece, and that’s a fact.
By this point I was fascinated with this absolute polymath. Not only did I recognise Bowie as a genius, but I was convinced that he had some sort of superhuman ability to create magic through music. I became so fascinated with him that I even sat down to watch the whole series of ‘The Buddha Of Suburbia’ just to hear Bowie’s soundtrack. I didn’t have a clue what was going on, I just waited patiently to catch the occasional sound of my idol. Another notable memory I have from that period was belting out ‘Modern Love’ at a karaoke night that took place at the club. Some will disagree, but I still think that’s a great song.
18 years ago, I was enjoying some life-changing moments, in more ways than I realised. Primary school was over, and following the summer holidays I would be starting “big school”. Back then the summer holidays seemed to last forever, and in retrospect part of me wishes that particular summer COULD have lasted forever. John Major was PM (although a Tory in charge is never a good thing), life was simple and exciting, and in August one big question was on everyone’s lips… I doubt there’s many people in this country who didn’t get asked “Who do you prefer, Blur or Oasis?” in the glorious summer of 1995, and for a good while afterwards. It was almost as if your answer would determine what sort of a person you were. From August 14th to the 20th, music fans from around the country were rushing out to their nearest record shops as Blur fought Oasis in a headline grabbing chart battle. The Essex band’s ‘Country House’ and the Manchester group’s ‘Roll With It’ were both released the same week during a time when a fierce rivalry between the two was at its most intense.
”The Battle of Britpop” may have been a media-stirred and rather shallow way to settle scores between two bands who had nothing in common except for the quality of their musical output, but it brought Britpop to the forefront of the British press and to the attention of many of kids waking up to music. The tabloid press turned it into a war that was as much about British class and regional divisions as it was about music. Oasis the working class northerners, Blur the posh student types from the South. The chart war captured the public’s imagination and gained mass media attention in national newspapers, tabloids, and even the BBC News. Provoked by Oasis, Damon Albarn turned a petty feud into a national debate… “Yes I did move our release date to match theirs! The main reason was that when Oasis got to Number One with ‘Some Might Say’, I went to their celebration party, y’know just to say ‘Well done’. And Liam came over and, y’know, like he is, he goes, ‘Number fookin’ One!’, right in my face. So I thought, ‘OK, we’ll see…’”
My clearest memory of it all was going to Our Price in Bath on the day before the singles charts were announced, and buying both singles. Initially I thought both weren’t the best either band had released, ‘Country House’ was frankly a bit silly, and ‘Roll With It’ seemed to lack the weight of their previous hits. But both grew on me and being an excited 11 year old caught in the thrill of Britpop, it would have seemed like missing out if I didn’t buy at least one of the singles. On the day I was going to decide which one to buy on CD, the Blur one was cheaper at £1.99, but at £2.99 the Oasis one had more tracks, and their b sides were known to be fantastic. In the end I purchased both on cassette. That evening was the yearly carnival in Melksham, which went past the end of my street and which that particular year I remember not really paying much attention to because all I wanted to do was get back home and play these new Blur and Oasis singles. So exactly 17 years ago today, the chart results were announced. I remember that instead of doing a recap of the top 40 before playing the week’s number one song, they did it before the top 2. “So the song at number two this week is… Blur” followed by a pause “… or Oasis…”
Blur won, selling 274,000 copies to Oasis’ 216,000 – the songs charting at number one and number two respectively. Blur were presented by their record company with a framed copy of the charts. The inscription read: “‘Better than Blur any f—ing day of the week’, Liam Gallagher, Glastonbury Festival, 1995.” Underneath that it read, “NOT TODAY SUNSHINE!” A few weeks later things had become very nasty. In an interview with the Observer newspaper Noel Gallagher said “I hate that Alex and Damon. I hope they catch Aids and die.” Lovely…
So back in school, what did I answer when asked THAT question approximately 130 times every hour? For me it was and still is impossible to choose between Blur and Oasis, because both have had such an equally huge impact on my musical life, and did so back then too. Ugly rivalries aside, there were plenty of positive things happening…
It was a time when youngsters, adults and all of the general public were given the chance to hear all kinds of music, and able to choose what they liked the most. Britpop was truly the ultimate gateway genre. I believe that every person has a true music fan inside of them, and hearing something amazing at the right time is what unlocks that passion. Most of the kids who were buying East 17 and Take That singles probably grew up to become casual, unconcerned passive listeners, who don’t give two shits about what they listen to and who probably own a small pile of CDs at the very most. Whereas a lot of kids who got into Britpop then went on to discover less commercial indie music, which in turn led them down many weird and wonderful avenues and into alternative music’s obscure past. I know that I probably wouldn’t be sat here now writing this column if the golden period of the mid 90’s didn’t happen. I certainly wouldn’t have my massive and eclectic record collection either. Vitally, the Britpop phenomenon also meant that bands of the future were being formed as a result of rock stars becoming heroes again. Kids saw Noel, Liam, Damon, Brett and the rest of them, and were inspired to pick up guitars and form groups of their own. You won’t find the chart “stars” of 2013 inspiring kids to play instruments, since they are nowhere to be seen in the world of pop now….
At the time it seemed like this was how things were going to be from now on. The people were getting bored of blandness and tacky pop, and now all these great bands were coming along at the same time, sending the 90’s into full swing and restoring some pride in British music. I thought it would never end, because why would anyone want it to end? As a kid you don’t see any reason why something so good would ever fade away. It felt like things were getting bigger and better as more and more fantastic groups appeared on the scene. I didn’t even think of it as “Britpop”, I just considered it as real, authentic pop music made by talented people who were genuinely fit to be stars. It wasn’t just a scene, to me music was improving and this was the beginning of the biggest musical revolution the world would ever witness. Blur and Oasis were going to be the most successful bands ever, and more fantastic groups would continue to appear, become massive and maintain a set of newfound musical standards amongst the general public. There were going to be no more shit boy bands, after all why would anyone need them now we had real musicians bringing their own brilliant and accessible songs into the mainstream once again?
However back then I didn’t hate bad music quite as much as I do now, and neither did most people. Maybe it’s because I was too young to have heard all the brilliant stuff that wasn’t in the singles charts, and didn’t realise that a lot of great music didn’t get the exposure it needed due to populist radio playlists and limited space in record shops, both things that led to awful songs (like that year’s truly stinking UK Eurovision entry by Love City Groove) enjoying greater success and recognition than great songs (such as ‘If fingers Were Xylophones’ by Gorky’s Zycotic Mynci). But even so, there was still a fair mixture of the good and the bad in the charts at the time, due to the fact that there were only a few radio stations to choose from, and all of them would have to cater for the mixed audience. Dance people would hear indie, rock fans would hear acid jazz, and younger people would be able to discover a gateway into more substantial music via the more mainstream acts who had come up from the alternative world. Things were able to cross over, people enjoyed variety and diversity, and there was more of a fair playing ground. There may have been some shite in the charts, but I didn’t actively HATE any of it just because it wasn’t to my taste. There was plenty of music I did like that was enjoying just as much chart success as the crap stuff, in some cases more success and certainly more credibility. I guess the less rubbish there is in the charts, the less you hate it. In fact there did come a point where I started to actually pity these manufactured pop acts, the poor unfortunate talent-free bastards who were going to be gradually upstaged, outclassed and demoted by this new wave of excellent British groups…
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Disco 2000 (band)
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Disco 2000 was a British pop band, a side project of The KLF. Vocals were handled by Cress, then-wife of KLF co-founder Jimmy Cauty, and "Mo". Between 1987 and 1989, Disco 2000 released three singles on the KLF Communications label, none of which entered the top 75 of the UK Singles Chart.
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British pop band / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Disco 2000 (band)?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
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https://spectrumculture.com/2020/05/07/brimful-of-madness-a-britpop-mixtape/
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Brimful of Madness: A Britpop Mixtape
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2020-05-07T00:00:00
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Who rules the ‘90s?
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Spectrum Culture
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https://spectrumculture.com/2020/05/07/brimful-of-madness-a-britpop-mixtape/
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Who rules the ‘90s? Grunge is channeling our inner monsters, fringe is becoming mainstream, hip-hop is taking over, the music industry is shifting from physical to digital. Across the pond, Noel Gallagher’s running around saying Oasis is “taller than Jesus Christ” and even if there are some people who agree, there’s another camp who thinks Blur is better and this is a very definitive choice indeed (if you read the celebrity rags). Britpop was UK’s paisley to America’s plaid, a transatlantic antidote to the growls of our collective unrest. Join us as we recall some of the best Britpop tracks from a transitional decade. Anyway, here’s “Wonderwall…”
* “Wonderwall” not included
Side A (Mod side)
1. Oasis – Some Might Say
Twenty-five years after “Some Might Say” was Oasis’ first UK Number 1 hit, we can’t recapture the freshness and naivete of that moment. Maybe it’s a sharper glance backward, informed by how Oasis’ reputation has developed over time. For anyone who ever speculated about whether Noel Gallagher imagined himself a Beatles protege, or wrote in their echoing image, “Some Might Say” confirms those suspicions:
“Cause I’ve been standing at the station/ In need of education in the rain/ You made no preparation for my reputation once again…”
The slanted rhyme of station, education, preparation and reputation resonates with the energy of the White Album, especially “Revolution.” The next three lines bring back what critic Ben Zimmer called the “serious silliness” of the Beatles: “The sink is full of fishes/ She’s got dirty dishes on the brain/ It was overflowing gently but it’s all elementary my friend.”
Juxtaposing those rhyme schemes feels a bit arrogant in retrospect: all the complex abstract terms, followed by the folly of “fishes” and “dishes.” Did Oasis get away with it? Whether this verse stands as high-minded or goofy has little to do with the powerful anthemic line from the song, “Some might say we will find a brighter day.” A simple message for a fist-pump singalong or a banner to hang somewhere when we find ourselves hoping for a brighter day, no matter the circumstances.
2. Elastica – Connection
How it must have gotten under Brett Anderson and Damon Albarn’s skin that, at the height of the Britpop movement, Elastica was more successful in America than Suede and Blur. But where those bands drew from glam rock and British Invasion-era guitar pop, Elastica—helmed by Justine Frischmann, Anderson’s ex- and Albarn’s then-girlfriend—emulated the zippy ferocity of punk and new wave. Hell, “Connection” reached #53 on the Billboard Hot 100 thanks to a riff borrowed from Wire’s “Three Girl Rhumba.” But the attitude was all Frischmann’s, and even if a lyric like “I don’t understand how a heart is a spade/ But somehow the vital connection is made” was deliberately vague, there’s no denying how fast, fizzy and fun “Connection” is. It’s the kind of song that leaps out of your speakers, grabs you by the shoulders, and shakes you for two and a half minutes—and then, just when you start to get used to the thrill ride, it’s over.
3. There She Goes – The La’s
Simplicity. Ringing, chiming, innocent and aching, the song reduced to its bare elements and held together by Lee Mavers’ nearly-broken voice, strummed guitar lines and tambourine. Never mind that the song would fail to chart upon release and take its own sweet time to find its way to success, never mind that the band would record a near-perfect debut and vanish almost immediately afterwards. The song sits at the dawn of Britpop and does exactly what the emerging genre needed. It looks both forward and back, reminiscing about pop music with its sound and structure, while offering a way to make those moments contemporary and useful once more. The Byrds-like lead guitar line is clear and autumnal, all falling leaves and bright winter days, while the lyrics are open-ended enough to be about almost anything (lost love? heroin?) and so of course it’s turned up on countless mix-tapes, film soundtracks and cover band setlists. Mavers hated it, commenting that “It never captured anything that we were about. To cut a long story short, too many cooks spoil the broth.” But what do authors know of their work? It’s the work that counts and “There She Goes” remains close to perfection as much for what it doesn’t do as what it does. No critical theory, no acerbic dismantling of class structure. Just a song offering a few short minutes of close harmony, mid-Atlantic sounding radio-friendly dreaming. And that’s okay.
4. Cornershop – Brimful of Asha
How funny it is that this little gem by Cornershop is how many Americans became familiarized with Asha Bhosle, who, just half a world away, is an icon of mythic proportions. Dynamo of Bollywood cinema and the most recorded vocalist in music history, Asha Bhosle’s decades-long career as a playback singer illuminates Hindi cinema; “sadi rani” (“our queen”) is a title surely earned. “Brimful of Asha” plays like a strolling devotional, and walking among those “cinema aisles” Tjinder Singh rattles off a list of influences in a curtain call of blessings: Mohammed Rafi; Lata Mangeshkar, Solid State Radio. But in specificity we come to the universal: “Everybody needs a bosom for a pillow/ Mine’s on the 45.” That’s a language everyone can understand.
5. Morrissey – Now My Heart is Full
Does Morrissey even count as Britpop? Well, sure. Many of the marquee acts of the scene were directly influenced by the Smiths and Morrissey’s Vauxhall and I (1994) arrived the same year as Oasis broke through with Definitely Maybe and Blur stunned fans with the career-defining Parklife.
Many consider Vauxhall to be Morrissey’s best solo album and nothing better embodies its spirit better than opening track “Now My Heart is Full.” Perhaps one of the most vulnerable tracks in Morrissey’s arsenal, “Now My Heart is Full” gives us a Moz who is reflective and melancholy. Though he would return to his backbiting, juvenile ways, this song is an emotional tour-de-force from its quiet beginnings to its soaring conclusion. “Tell all my friends/ I don’t have too many/ Just some rain-coated lovers’ puny brothers,” Morrissey laments. Yet his heart is full.
6. Pulp – Do You Remember the First Time?
Pulp’s songs are littered with swaggering cocksmen and infidelity, yet there’s always a tragic bent to these characters that Jarvis Cocker wants to make sure that you grasp. “Do You Remember the First Time?” makes that abundantly clear on the first verse, in which Cocker coyly tempts his ex-lover for a night of sex by reminding her of the staid, safe, boring relationship waiting for her at home. It’s played with a romantic swell, the rising synths giving one the feeling of a John Hughes finale. Yet, when that chorus hits, it’s pure, cynical sadness masked as triumph: he ultimately doesn’t want to rekindle their relationship; he just wants one more night of fun. This is where Pulp began mining the fun in tragedy and the tragedy in fun.
7. Suede – Animal Nitrate
So much of Brit-pop was a revival of the genre’s of British rock’s past, and none of these bands quite got the handle on a style the way that Suede revived and recontextualized glam. “Animal Nitrate” is quintessential Suede in this regard. It has everything: the overwhelming stomp, the otherworldly sneer of Brett Anderson’s voice, and a squealing, macho guitar part from Bernard Butler, perhaps the greatest guitarist to come out of this period in British pop music. The lyrics hint at something dark hiding under the surface, but Anderson isn’t interested in examining it further. No, this song aims for cheap thrills and hits gloriously. Never has wanton, reckless drug use sounded so alluring. I mean, it’s right there in the title.
8. Blur – The Universal
In the battle for Britpop, Blur, and especially lead man Damon Albarn, take up an art school ethos, embracing cleverness, metaphor and social critique. “The Universal” is an exemplar of Blur’s social critique, although in a more subdued tone than some of their more danceable tunes. Reminding listeners that “the future’s been sold” and “No one here is alone / Satellites in every home” places Blur in the middle of late 20th century dystopia. Filmmaker Jonathan Glazer’s music video is an homage to A Clockwork Orange, in which Albarn seems to savor his role imitating Alex, the film’s lead.
Notoriously despised by Albarn’s then-girlfriend Justine Frischmann (then lead singer of Britpop band Elastica), “The Universal” shines on its own terms. It is not a typical pop song in either music or lyrical content, offering a soothing salve that works to contain the ominous warning of complacency-as-giving-up that is central to the song. Wanting the song to be less menacing or more angry would undo the subtle ways it still resonates politically.
9. Kula Shaker – Govinda
Try to separate the message from the messenger if you must – “Govinda” is a Sanskrit chant offered by a white Brit boy after all – but this single from Kula Shaker’s debut K remains an ecstatic fusion of neo-psychedelia and exaltation. Everything here is actualized: the guitar riffs are pure power and Crispian Mills makes good on his spiritual devotion by delivering this prayer through exclamation. When he sings “Nrsimhadeva, Jaya Nrsimhadeva!” there is fire in his belly as he gives glory to the half-lion, half-man incarnation of Krishna. This is such blissful abandon; may the beast defeat the cynic. It’s hard to come away from “Govinda” as anything but a believer.
10. Divine Comedy – National Express
British nostalgia is an odd beast, mostly now a flaccid national self-pity as evidenced in the destructive petulance of Brexit. But the finest moments of Britpop manage to both celebrate nostalgia sonically whilst also pointedly critiquing it as mainstay of the culture industries. In this, “National Express” is a key example, the intro’s gloriously retro brass section announcing the song’s exploration of what happens between being promised that “Tomorrow belongs to me” and arriving as an adult at the death of those dreams. Neil Hannon’s attention to period detail in his singing is a highlight, pasting in Sinatra-esque references while outlining the ways in which memories are the only escape from the horror of the ordinary. It’s no surprise then that “National Express” was loathed by the music press upon its release, lambasted for its perceived mocking of the working classes when, to listen to it now, one can hear the kinds of up-tempo mourning for lost possibilities that made Britpop so interesting. Regardless, the song is, as was intended, a jolly old knees-up, the kind of thing that gets eventually divested of its critical position and is sung round an out-of-tune piano by exactly those people who feature in it.
Side B (Mad side)
1. The Verve – Bittersweet Symphony
Sometimes the obvious choice is still the best choice, for an obvious reason. 1997 marked the end of Britpop—Blur embraced American indie rock and Oasis’ “biggest band in the world” claim disappeared in a cloud of cocaine—but at least the Verve saw to it that it went out with a bang with their masterpiece Urban Hymns. Lead single “Bitter Sweet Symphony” wasn’t just the Verve’s biggest hit, but its resurrection, the band’s first single since a brief breakup in 1995. Even though it might be one of the few Britpop songs (not to mention the only Verve song) that Americans can name, it really is one of the best tunes of the era, with all of its sonic elements—the soul-stirring strings, the boom-bap drumbeat, the guitar effects that sound like a UFO taking off—coming together to form one of the most psychedelic musical experiences since the 1960s. Like all highs, it didn’t last: A failure to clear the opening orchestral sample meant millions in royalties went to the Rolling Stones, and internal conflicts would drive the band apart in 1999. But that’s life, and you’ve got to learn to take the bitter with the sweet.
2. Saint Etienne – He’s on the Phone
Though Saint Etienne falls into the Britpop scene, the long-running group rejected much of the movement’s sound. More refined in instrumentation, more diverse in songwriting and more comfortable in its own skin, Saint Etienne’s music leaned more towards the dancefloor, none more so than its 1995 single “He’s on the Phone.”
Written about an “academia girl” in a bad relationship with a married man, “He’s on the Phone” blows off the more wistful aspect of Saint Etienne’s music for pure Eurodisco pop. It’s shameless dance music designed for the radio. Very much of its time, “He’s on the Phone” still resonates through Sarah Cracknell’s sweet and sad vocal and the song’s unabashed, syrupy strings and horns. While Saint Etienne’s contemporaries would never set foot in a dance club, Cracknell and company embraced the flashing lights and sweating bodies with enthusiasm.
3. Pulp – Disco 2000
“Disco 2000” manages to distill the very essence of Pulp into just over four and a half minutes. All your basic Pulp themes are present and accounted for (classicism, social outcasts, unrequited love, etc.) and coupled with a brilliant chorus hook that allows the song to standout even on an album full of stellar, thematically similar tracks (see also: “Common People”). From the opening guitar riff to the disco groove that kicks the song into high gear to Jarvis Cocker’s first-person narrative, “Disco 2000” offers listeners everything they could ever hope for in a Pulp song, making it something of a calling card for the band in terms of its distillation of lyrical themes, impressive instrumental arrangement and Cocker’s spot-on lyrics delivered from the outcast point of view. “We were friends that was as far as it went,” he sings on the song’s second verse, “I used to walk you home some times but it meant / Aw, it meant nothing to ya cause you were so popular,” the last word virtually spat out before launching into the minor key pre-chorus that leads into the celebratory chorus. Love, longing, loss and hope for a brighter tomorrow, all delivered in the guise of pop song.
4. Suede – The Wild Ones
Destroyer’s Dan Bejar once called Suede’s “The Wild Ones” “one of the great English-language ballads of the last 100 years or so,” and it’s hard to disagree with him. The song sounds like “Thunder Road” written by U2 instead of Bruce Springsteen, right from its poetic opening lines: “There’s a song playing on the radio/ Sky high in the airwaves on the morning show.” From there on down it’s all running dogs and bleeding tattoos, Brett Anderson’s soaring vocals and Bernard Butler’s crushed velvet guitar. Damn right cynical, grunge-addled American critics thought Suede (rebranded as “the London Suede” stateside) were pretentious and melodramatic—almost a year before the fabled “Battle of Britpop,” Anderson and Butler had already set their sights on what was to come after, writing songs that were more romantic and experimental than what the lads in Blur or Oasis were capable of. They almost certainly would have topped it if interpersonal tensions hadn’t driven them apart, but then again, few other Britpop bands wrote a song as magnificent as “The Wild Ones.”
5. Lush – Single Girl
There’s “Miss World,” “50ft Queenie” and “Rebel Girl,” but let’s not leave out Lush’s more temperate but no less disaffected “Single Girl.” Miki Berenyi catalogs the anxieties a break-up brings (“Don’t want talk to myself again tonight/ Don’t wanna put out the light”) but a liberating realization seems to dawn on her as the bridge concludes with a coo that rises and pops like a wayward soap bubble. The tempo slows towards the final proclamation – “Single girl/ I just wanna be a single girl” – and the winding-down represents a deliberate reclamation of time and space. In other words: get the fuck away from me, loser.
6. Supergrass – Caught by the Fuzz
Supergrass busted on to the Britpop scene like feisty little brothers crashing their older siblings rager. Their scrappy, impish demeanor was emulated perfectly by their speedy, wiry punk music and their debut single “Caught by the Fuzz” was a breath of fresh air. While the big boys worried about the grander issues of life, love, work and what it all means, Supergrass had more immediate concerns. In the case of “Caught by the Fuzz” it meant an unfortunate run-in with the cops over some hash. Singer Gaz Coombes manages to capture both the rush and regret of doing something stupid and getting caught, knowing full well he’d do it all over again. After all, you’re only young once.
7. Manic St. Preachers – If You Tolerate This Your Children Will Be Next
Manic Street Preachers could hardly have come up with a more melodramatic refrain for their number one hit “If You Tolerate This Your Children Will Be Next.” Singer James Dean Bradfield, you might think, needs to simmer down a little. Instead, the band weaves a historical call to arms into a reflection on idealism, anxiety and action. With an epic chorus and an unusual organ sound, the Manics hit on a perfect combination for a song that manages to be both an anthem and a deconstruction of its own anthemic nature.
The lyrics draw from history, primarily the Spanish Civil War, in creating their ambivalent web. “The future teaches you to be alone/ The present to be afraid and cold,” Bradfield sings to open the song, inscribing the bleakness that the next four minutes will have to overcome. He moves through 1930s threats to shoot fascists and Orwell’s historiography and British concerns about a dangerous movement growing in Europe. All that tucks into the song, but it never sounds dry. The Manics might doubt the success of idealism turned into violent action, but the chorus never suggests we give up on resistance. Few bands have had the craft to create something that inspires in spite of (and because of) its awareness of inspirational limitations.
8. Pulp – Common People
Pulp were Britpop’s hedonists with a conscience, but there’s very little that’s hedonistic about “Common People.” If anything, “Common People” is a condemnation of a specific type of hedonism, one that can only be indulged by those with the means to do so. Given their origins in the northern industrial city of Sheffield, it’s easy to see how Pulp may have been more attuned to the issues of gentrification and class tourism that some of Britpop’s London-based groups may have been blind to. And “Common People” pulls no punches in this regard: the seething contempt that Jarvis Cocker has for wealthy kids slumming it in poor neighborhoods is palpable with every line, particularly on the song’s iconic chorus: “You’ll never live like common people/ Never do whatever common people do/ Never fail like common people/ Never watch your life slide out of view.” Pulp brought indelible dance beats and day-glo synths to Britpop, but it’s Cocker’s acid tongue that makes “Common People” a classic.
9. Oasis – Slide Away
Oasis wore a lot of hats on their first two albums: they could be sneering, hedonistic and even kind of romantic. Most of all though, there was an air of positivity that was unlike anything their peers were putting out at the time, and “Slide Away” is imbued with that spirit. It has a striving spirit that is sadly lacking in most of Britpop as a genre, even as Oasis eventually came to define what it sounded like. While most of the album “Slide Away” comes from (Definitely Maybe) stomps in borrowed swagger and guitar sludge, “Slide Away” soars above it all. Framed as a love song, the lyrics could easily be Noel and Liam speaking to each other in happier times. A pair of nobodies from Manchester with dreams of rock stardom, the song is filled with hope that those dreams will eventually come true. Neither Oasis nor the rest of Britpop ever sounded this full of life afterwards.
10. James – Out to Get You
James had been making music since the early-‘80s before scoring an international smash with hit single, “Laid,” in 1993. Long-popular in native Great Britain, the fruits of the band’s labor paid off and for a short period of time they were one of the biggest acts in the world.
“Laid,” however, was an outlier on the album of the same name. Most of James’ music therein revealed itself to be raw, solemn songs about broken hearts and emotional strife. Take opening track, “Out to Get You,” which begins with a languid guitar lick and unfolds into a squalling, expressive performance by vocalist Tim Booth. Produced by Brian Eno, Laid and “Out to Get You” continue to be sonically rich experiences that still tug at the heartstrings nearly three decades later. –
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https://www.nme.com/news/music/britpop-the-music-that-changed-britain-30th-anniversary-docu-series-3410250
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en
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New docu-series ‘Britpop: The Music That Changed Britain’ celebrates genre’s 30th anniversary
|
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[
"Kyann-Sian Williams"
] |
2023-03-09T11:23:29+00:00
|
A new four-part series Britpop: The Music That Changed Britain will kick off this weekend to celebrate the genre’s 30th anniversary.
|
en
| https://www.nme.com/wp-c…[email protected]
|
NME
|
https://www.nme.com/news/music/britpop-the-music-that-changed-britain-30th-anniversary-docu-series-3410250
|
A new four-part series Britpop: The Music That Changed Britain will kick off this weekend to celebrate the genre’s 30th anniversary.
READ MORE: Blur and Oasis’ big Britpop chart battle – the definitive story of what really happened
The series will document the story of the integral British genre from start to finish. There will be “exclusive new interviews with the key players”, who will tell “fascinating behind-the-scenes stories”, and a “rare and unseen archive of all the era’s big names”.
The first episode tells the story of Britpop’s rise to fame and the infamous rivalries between Blur, Oasis, Suede and Elastica. Some pivotal artists featured include Alex James and Dave Rowntree of Blur who’ll talk about their “disastrous” early tour and creating their classic ‘Parklife’ album.
Also, we’ll see Liam Gallagher and Noel Gallagher talk in rarely-seen archived interview footage from the early days of their career. This sets up well for the second episode’s deep dive into the Oasis vs Blur chart battle and feud.
Advertisement
The new four-part series Britpop: The Music That Changed Britain will be premiering on Sunday (March 12) at 9pm on Channel 5 in the UK.
Noel Gallagher and Damon Albarn have buried the hatchet at least, with the former offering to sprinkle some more “Northern magic” on new Gorillaz material following previous collaborations.
Recommended
In other news, Noel Gallagher recently revealed that he would “never say never” to an Oasis reunion. The band have been remained split since 2009. Noel, meanwhile, is gearing up to release his new album ‘Council Skies‘ with the High Flying Birds on June 2, having recently shared the Robert Smith remix of the single ‘Pretty Boy‘.
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https://tributeactsmanagement.com/artists/that-britpop-band/
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en
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That Britpop Band
|
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2023-09-06T10:29:19+00:00
|
en
|
TRIBUTE ACTS MANAGEMENT
|
https://tributeactsmanagement.com/artists/that-britpop-band/
|
Formed in the infancy of the UK’s first lockdown in 2020; That Britpop Band have quickly become widely regarded as the UK’s ultimate Britpop Tribute band.
That Britpop Band is a no-holds-barred genre tribute act solely dedicated to the last major British movement in music – 90s Britpop.
Covering songs from the genre’s obvious big-hitters such as Oasis, Blur, Pulp, and The Verve; to the often-unsung heroes like Supergrass, Shed Seven, and The Seahorses; the band leave no Britpop-shaped stone unturned in their fast-paced, high-energy tribute show.
The band itself is comprised of four musicians whose combined gigging history would put the most seasoned of players to shame! Having played all over the world from New Zealand to Old Camden Town with the likes of Bill Wyman, Bad Manners, Babyshambles, The View, Ben Waters, John Power and the mighty Chas & Dave (to name but a few), it’s fairly safe to say that these boys know their way around the stage!
That Britpop Band have already made a huge impact on the tribute band scene and have also gained a massive online following; being personally endorsed by Britpop legends Shed 7 and the ‘one and only’ Chesney Hawkes!
4 piece band – Rhythm guitar & vocals / Lead Guitar & vocals / Bass Guitar / Drums & vocals
|
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0
| 44 |
https://www.theguardian.com/music/2022/nov/03/pulps-20-greatest-songs-ranked
|
en
|
Pulp’s 20 greatest songs – ranked!
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"Alexis Petridis",
"www.theguardian.com"
] |
2022-11-03T00:00:00
|
With a raft of reunion shows announced for 2023, we assess the Sheffield band’s best songs
|
en
|
the Guardian
|
https://www.theguardian.com/music/2022/nov/03/pulps-20-greatest-songs-ranked
|
20. I Want You (1987)
Pulp’s luckless 1980s career has been dismissed as juvenilia – not least by Jarvis Cocker – but it’s sparingly studded with great songs, albeit great songs hampered by their ultra-cheap production. I Want You, from their second album Freaks, the kind of epic ballad they would later master with Something Changed, is a perfect example.
19. Countdown (1991)
Their former labels’ attempts to cash in on Pulp’s mainstream success were wearying but at least some of the music they were hawking was really good. Countdown, from their third album, Separations, is a tense rumination on ageing and escape. The re-recorded 12in version is the one to hear.
18. Do You Remember the First Time? (1994)
That rarest of things: a Top 40 hit that mentions buying a vibrator in its opening verse. It’s another entry in fourth album His N’ Hers’ chronicle of relationship woes in which the protagonist winningly attempts to sweet-talk his ex by suggesting that, if they have sex again, it can’t be worse than their disastrous first attempt.
17. Like a Friend (1998)
A fantastic This Is Hardcore-era B-side, Like a Friend ended up on the soundtrack of the 1998 movie Great Expectations. The moment at 1min 45sec where it unexpectedly changes gear, the tempo shifts and the whole band crash in is fantastic, the disconsolate lyrics – “come on in, wipe your feet on my dreams” – terrific.
16. Sorted for E’s and Wizz (1995)
An equivocal hymn to Cocker’s raving days, which ponders the meaning of hedonism. The question of why hedonism has to have a deep meaning hangs heavy, but even so, its evocation of comedown paranoia – “I seem to have left an important part of my brain somewhere in a field in Hampshire” – is perfect.
15. Cocaine Socialism (1998)
Bafflingly relegated to a B-side, Cocaine Socialism is a livid but witty excoriation of New Labour’s attempts to co-opt Cool Britannia and of Cool Britannia itself. A lot of Pulp’s 90s peers were aiming for Ray Davies-inspired social satire, but no one else came up with anything as pointed and powerful as this.
14. Mis-Shapes (1995)
In a world where tribal youth culture barely exists, Mis-Shapes’ rallying call for suburban weirdos sounds like a transmission from a distant past, where “you could end up with a smack in the mouth just for standing out”. But if its lyrics feel like a time capsule, the chorus still hums with vibrant, valedictory energy.
13. This Is Hardcore (1998)
Hard work compared to its hit-packed predecessor, Different Class, the damaged, self-lacerating mood of This Is Hardcore is summed up by its title track: queasy lounge music horns, pained vocals, lyrics that appear to equate fame with pornography. Clearly it wasn’t going to sell the way Different Class did, but as a slow fade on the excesses of the mid-90s, it works perfectly.
12. Something Changed (1995)
Pulp’s songs about love and sex were so fraught – with everything from jealousy to class consciousness – that it’s oddly startling to hear them come up with something straightforwardly sweet: a lyric about the element of chance involved in falling in love (“where would I be now if we’d never met?”) and a lovely chanson-esque melody.
11. Inside Susan: A Story in Three Songs (1993)
Perhaps it’s cheating to include what’s effectively three different songs as one track, but let’s bend the rules for Susan’s tripartite life story. Stacks is one of pop’s great depictions of excitable adolescence; Inside Susan’s interior monologue is beautifully drawn; the dull marriage of 59 Lyndhurst Grove subtly weary and sad.
10. Razzmatazz (1993)
An awesome tale of relationship schadenfreude, in which a recent dumpee notes that things aren’t panning out for his former partner. Its brilliance lies not just in its fabulous chorus, but the distinct hint of pain in Cocker’s voice: for all his gloating, he clearly isn’t enjoying himself much either.
9. Sheffield: Sex City (1992)
On the B-side of Babies lurked a lust-wracked tour around Pulp’s home town that’s audibly inspired by house music, quotes at length from Nancy Friday’s 1973 book My Secret Garden: Women’s Sexual Fantasies, is at turns atmospheric, authentically erotic and barkingly funny – like nothing else British alt-rock produced in 1992.
8. Lipgloss (1993)
Lyrically, Lipgloss sounds a little like Razzmatazz part two – another portrait of a woman abandoned after the novelty wore off – although it’s noticeably more detached and sympathetic than its predecessor. But the star here is guitarist Russell Senior, who reels off a succession of concise, attention-grabbing riffs around the vocal.
7. Pink Glove (1994)
His N’ Hers was an album mired in sexual obsession and envy, and Pink Glove – the saga of a triangular love affair told by the least dominant figure, alternately sneering at his rival and issuing feeble threats to leave – might be its highlight. It should have been a single; its melody is certainly addictive enough.
6. Disco 2000 (1995)
There’s something hugely winning about the fact that, while Pulp’s peers stole from the Beatles or Wire, Disco 2000 borrowed heavily from Laura Brannigan’s Eurodisco hit Gloria. Its singalong chorus masks an incredibly sad song of undimmed unrequited love. Its subject, Cocker’s childhood friend Deborah Bone, died of cancer in 2015.
5. Sunrise (2001)
Whether intentionally or not, the last track on the last Pulp album feels like the band saying goodbye: it’s elegiac and optimistic, its lyrics simultaneously bidding farewell to a party lifestyle and scorning the bleak worldview found on This Is Hardcore. The music is just gorgeous, an acoustic sigh that turns into a guitar-heavy jam.
4. Underwear (1995)
Underwear might be Pulp’s equivalent of Elvis Costello’s I Want You; both songs capture the moment when jealousy begets lurid visions of what’s going on behind your back. But while I Want You’s music relentlessly amps up the tension, Underwear’s chorus is strident and anthemic and blessed with one of their finest melodies.
3. The Fear (1998)
Complete with Paul Daniels reference, The Fear explains why Pulp chose commercial suicide with This Is Hardcore: “This is the sound of someone losing the plot … you’re going to like it, but not a lot.” But The Fear’s wilfully murky sound does nothing to hide the strident brilliance of its melody, or its disturbing lyrics.
2. Babies (1992)
The finest example of Cocker’s song-as-short-story approach to writing, Babies’ sad, funny, grubby coming-of-age tale turns teenage voyeurism, unrequited lust and wince-inducing memories into one of the greatest songs of the 90s, so stark and conversational in its approach that listening to it feels – appropriately enough – like eavesdropping. It’s also got a killer tune.
1. Common People (1995)
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https://forums.stevehoffman.tv/threads/american-britpop.567015/
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American Britpop?
|
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I came across this page on lastfm. It sounds a bit odd, of course, since britpop is so geographically connoted, but actually I can't think of a better...
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/american-britpop.567015/
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I came across this page on lastfm. It sounds a bit odd, of course, since britpop is so geographically connoted, but actually I can't think of a better tag for the two tracks listed there and I think there are quite a few more that could be listed there.
So, I wonder, was the term "britpop" ever used officially (that is by musicologists, critics, journalist, etc.) for american acts?
The Brits were bored by grunge and that led to the Brit Pop explosion. I have been putting together an iTunes library of prime Brit Pop to listen to by the pool. I have 60+ CDs presently (most suggested at this site) and I am always on the lookout for more!
When a British rock fan says pop, it doesn't have the same negative connotations as it does when an American says it. They usually just mean popular without any type of value judgement.
As far as American Britpop, I think the April 93 cover of Select magazine said it all...
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https://www.independent.co.uk/arts-entertainment/music/features/britpop-blur-pulp-brexit-oasis-b2383800.html
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en
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Can Blur really be cool again? Inside the strange rebirth of Britpop
|
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2023-07-30T05:45:00+00:00
|
Britpop was once seen as a flag-waving embarrassment partially responsible for ushering in Brexit. Now, decades on, the genre is fashionable again – or at the very least, redolent of simpler, better days. Ed Power investigates
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en
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/img/shortcut-icons/favicon.ico
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The Independent
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https://www.independent.co.uk/arts-entertainment/music/features/britpop-blur-pulp-brexit-oasis-b2383800.html
|
A few years ago, you’d have struggled to find someone with a kind word to say about Britpop. “Patronising, jingoistic and crass,” reckoned Suede’s Brett Anderson. “Grave-robbing necrophilia,” lamented writer Simon Reynolds. “Just awful,” said Blur’s own Graham Coxon.
You wonder how Coxon feels today as Blur follow a nostalgia-soaked two-hander at Wembley in early July by claiming their seventh No 1 this week with new album The Ballad of Darren. That Wembley triumph – variously heralded as “glorious” and “momentous” – coincided with the acclaimed return of Pulp, led by Britpop’s resident eccentric professor Jarvis Cocker. Their comeback shows have been widely praised, too. The New Statesman credited Jarvis and company with “launching the second summer of Britpop”. The NME described Pulp’s first tour in a decade as “a reunion you never wanted to end”.
Next month, meanwhile, Liam Gallagher releases a live LP culled from the two nights he played at Knebworth last year – an event that consciously referenced the peak Britpop moment of Oasis storming the same venue in 1996. For a chapter of British cultural history long shunned as naff and retrograde and blighted by a streak of “mockney” class tourism, Britpop has recently been showing surprising signs of life. The “oi’s” have it. Its resurgence is a feat of unprecedented musical rehabilitation. Until recently, Britpop was seen by many as having paved the way for Brexit in its celebration of British (ie English) exceptionalism and presentation of cultural frippery – fish’n’chips, a cuppa on a Formica table, pints at the dog track – as sacred expressions of a unique British (ie English) identity. Once you took back control of your pop music, how long before you tried to do likewise with your politics?
Today, though, even Britpop’s also-rans are enjoying a resurgence. Shed Seven (the Battlestar Galactica to Oasis’s Star Wars), have all sold almost the entirety of their October tour. The Boo Radleys have a new LP out, Eight, and in September will release a deluxe, three-disc edition of their 1993 masterpiece Giant Steps. Sleeper’s 2019 comeback record, The Modern Age, was a top 20 hit. To say this is a turn-up for books would be an understatement. Few people can agree on anything nowadays but up until this year – or even just a few months ago – the consensus was that even if Britpop left us with some good tunes, it was, in its totality, a flag-waving embarrassment: the rock’n’roll equivalent of those tiny union jacks waggled about on the final night of the Proms.
It was seen as sexist too. In his 2022 memoir, Verse, Chorus, Monster! Coxon recalled “clashing heavily with the Britpop thing” when required to participate in the video for Blur’s 1995 track “Country House”, a cheerily charmless promo featuring models Sara Stockbridge and Vanessa Upton and Page Three model Jo Guest. “It made me angry because here I was, finally in a band, and the experience seemed to be getting cheapened by Page Three-type imagery, a revival of sexism and football hooliganism.” Coxon may have cringed, but he hasn’t disavowed “Country House”. The bawdy chugger retains pride of place in Blur’s new set, as they come together for the first time in seven years. At Wembley, it prompted a mass singalong. A song over which even members of Blur were conflicted has been reborn as a musical national treasure: a literal terrace anthem.
How far we have travelled. As recently as 2018, commentators were tracing a direct line between Blur cracking the charts in the mid-1990s and Boris Johnson gaining the keys to Downing Street. “Would it be uncharitable of me to begin this review by stating Britpop is partly to blame for the s*** show of corruption, incompetence and lies that is Brexit,” wrote music writer Jon Savage in his review of the Merrie Land album by Damon Albarn’s the Good, the Bad & the Queen project. Merrie Land was Albarn’s appalled response to Brexit (“Are we not green and pleasant?/we are not either of those,” he lamented on the title track).
Savage wondered if the musician quite appreciated the part he played in the great national act of economic immolation. He wrote of “all those self-regarding white kids forming bands and trying to reinvent The Kinks” and suggested they had “laid the emotional and cultural ground for all those emotional appeals to an idea of England that never existed, enabling the Conservative party to turn an internal split into an act of national self-harm.” Savage’s opinion was vehemently articulated – but not unusual. “Jingoism, proud idiocy and most of all giggly sexism became entirely acceptable,” is how Britpop was described by author Owen Hatherley in Uncommon, his 2011 mediation on Pulp.
Likewise regarded as a low point was the notorious June 1997 Downing Street get-together between Tony Blair and Noel Gallagher. An “effective castration” went one description of the meeting, in a 1999 lament for Britpop published in the Independent under the headline “It’s Over (Definitely Maybe)”. “If rock stars were now friends of the government,” went the piece, “how could they continue to be truly exciting?”
Most vicious of all in his diagnosis of Britpop was Suede’s Brett Anderson. He’d been appalled to find himself plastered all over Select magazine’s notorious April 1993 “Yanks Go Home” splash – an issue widely perceived as the moment Britpop went over the top, bayonets gleaming. In its interview with Suede, the magazine heralded the group as “spearheading a burgeoning British movement that…waggles its arse at Uncle Sam”. Anderson wasn’t having it. “Historically you can see the first Suede album as also the first Britpop album,” he previously told me. “We initiated it. And I was kind of offered this thing – ‘Do you want to wave a union jack and pretend to be this boring Carry On… figure, going on about corduroy trousers and fish and chips and stuff like that?’ That never appealed to me.”
Anderson was speaking in 2011 when Suede were in the process of reforming. He has never wavered in his hostility to Britpop. What’s extraordinary is how the return of Blur and Pulp and their fellow 1990s survivors has seen the broader antipathy melt away. “Oh Blur. For 30 years you’ve been the best,” wrote author Caitlin Moran from Wembley – notwithstanding her previous proclamations that “Britpop was dead”. “First of all, everything looks better through the lens of nostalgia,” says Mark Mulligan, managing director of MIDiA Research, an entertainment industry analytics company. “People always remember the good stuff and forget the bad.” But other factors are at play, too. The Britpop Generation are now at the age their parents were in the 1990s (perhaps even a bit older). Nostalgia for a lost youth has been passed down from Boomers to Gen X.
There is also, says Mulligan, a sense of Britpop and 1990s music, in general, representing a golden era before streaming. “There’s a certain amount of people looking back to the 1990s and thinking, ‘Well, this feels like a freer musical time,’” he explains. “Even though, at the time, a lot of people saw Britpop was a very manufactured, big record label attempt to harness what had previously been the indie music scene. It felt less driven by business, more driven by music. That’s how it’s seen. You’re seeing this a lot with young consumers: Gen Z and the younger end of millennials.”
One reason people soured on Britpop was because of the overkill of the Blur v Oasis rivalry, which descended into name-calling and tribalism, says Daniel Rachel, author of Don’t Look Back in Anger: The Rise and Fall of Cool Britannia (2019) and Oasis: Knebworth (2021). Thirty years later, that aura of nastiness is forgotten. What endures is the music. “The backlash grew out of the Blur and Oasis single battle in the autumn of ’95. That was more to do with the spat between the Gallaghers and members of Blur,” he says. “That was then taken on by oppositional fans of those groups. It became silly: it originated from the silly season of August, when parliament was in recess. There was no substance to that; it was real sniping. With the passage of time and new generations coming to this music that spat has become irrelevant if they even know about it. What you instead get is the joyfulness of the songs and of the front people.”
There is also the fact that, unlike many musical movements, Britpop was optimistic and celebratory. “Punk was a nihilistic movement. Britpop was more like disco – something you can find pleasure in and want to celebrate,” says Rachel. “Particularly coming out of lockdown and a stark political time, people want something that they can celebrate… In many ways that was Britpop.” Compared to modern pop, Britpop had a striking degree of self-assurance, adds Professor Gwen Bouvier, of Shanghai International Studies University, who has written about the genre. It engaged with ideas around identity and class confidently and intelligently. “What set [Britpop artists] apart then, may be the attraction now,” she says. “The music was positive and optimistic, and rooted in authenticity, rooted to a place. They were real people, some with a keen interest and background in the arts – such as Pulp and Blur. So, the songs would be ironic and clever. “Parklife”, “Common People”, “Disco 2000” [took] a fun look at the pathos of the lives of ordinary people. And above all it’s ‘real music’ – they are not empty pop, but rather connect to ideas about identity.”
Post-Brexit, Britpop’s obsession with Britishness may have given it fresh relevance too. Decoupled from Europe and cut adrift by America, Brits are feeling slightly at sea and wondering where they fit in. Blur and the Gallaghers don’t have the answers. But they do seem interested in the question of what happens when tradition intersects with modernity: that is, after all, the essence of their music. “This could be linked to searching for identity following the realities of Brexit setting in,” says Bouvier.
Britpop was itself steeped in nostalgia, of course. Oasis covered The Beatles; Blur channelled The Kinks. As a cultural phenomenon, it had one foot in the 1990s, the other in the 1960s. That may be why Britpop nostalgia is so potent. “Britpop itself was very much a looking back, reflective genre. Blur and Oasis were taking from different ends of the musical spectrum but were looking back at bands like The Kinks, Status Quo, The Beatles,” says Mulligan. “You could argue that what we’re talking about here is a cultural line connecting the 1960s to the modern day.”
Ultimately, he suggests, Britpop harks back not to a specific moment in the 1990s but to a more general yearning for the past. In the turmoil of a post-Covid world, there is perhaps comfort in seeing Damon Albarn jog around the stage at Wembley, belting out “Parklike”. It reminds us of simpler times, better times – all the while, implicitly promising that if we sing loudly and wish hard enough, those times might come again.
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https://en.wikipedia.org/wiki/Disco_2000_(song)
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Disco 2000 (song)
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2007-07-19T01:52:23+00:00
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https://en.wikipedia.org/wiki/Disco_2000_(song)
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1995 single by Pulp
"Disco 2000"Single by Pulpfrom the album Different Class B-side"Ansaphone"Released27 November 1995 ( )GenreBritpopLength
4:33 (album version)
4:51 (7-inch mix)
LabelIslandSongwriter(s)
Jarvis Cocker
Nick Banks
Steve Mackey
Russell Senior
Candida Doyle
Mark Webber
Producer(s)
Chris Thomas (album version)
Alan Tarney (single, 7-inch remix)
Pulp singles chronology
"Mis-Shapes" / "Sorted for E's & Wizz"
(1995) "Disco 2000"
(1995) "Something Changed"
(1996)
Music video on YouTubeAlternative cover
"Disco 2000" is a song by British band Pulp, included on the band's fifth album, Different Class (1995). Featuring a disco-inspired musical performance, the song was based on Pulp singer Jarvis Cocker's childhood memories of his friend Deborah Bone, who he had "fancied" in his youth but could never impress.
"Disco 2000" was released as a single on 27 November 1995 by Island Records, the third from Different Class. The single reached number seven in the UK and charted in several others. The release was accompanied by a music video directed by Pedro Romhanyi, which was based on the story told on the single's sleeve artwork. The song has since become one of Pulp's most famous tracks and has seen critical acclaim.
Background and lyrics
[edit]
"Disco 2000" tells the story of a narrator falling for a childhood friend called Deborah, who is more popular than he is and wondering what it would be like to meet again when they are older. Pulp frontman Jarvis Cocker based the lyrics on a girl he knew as a child and recalled, "the only bit that isn't true is the woodchip wallpaper."[1] He elaborated:
There was a girl called Deborah—she was born in the same hospital as me. Not within an hour—I think it was like three hours—but you can't fit three hours into the song without having to really rush the singing! ... But basically you know the whole thing was the same—I fancied her for ages and then she started to become a woman and her breasts began to sprout so then all the boys fancied her then. I didn't stand a 'cat-in-hell's chance'. But then I did use to sometimes hang around outside her house and stuff like that.[1]
Deborah was based on a real-life childhood friend of Cocker's, Deborah Bone, who moved away from Sheffield to Letchworth when she was 10. As the lyrics suggest, she did marry and have children.[2] Bone later reflected, "My claim to fame is growing up and sleeping with Jarvis Cocker, well someone had to do it, and it was all perfectly innocent! I have been told and like to believe that I am the Deborah in the Number 1 hit 'Disco 2000,' but we never did get to meet up by the fountain down the road."[2] The fountain referred to as the meeting place was Goodwin Fountain, formerly located on Fargate, in Sheffield city centre.[3]
Music
[edit]
"Disco 2000" took inspiration from disco music. Martin Aston of Attitude described the song as "seventies à go-go: the stamp of Elton John's 'Saturday Night's Alright For Fighting', Marc Bolan's glittery guitar, ABBA's sweeping gait and a huge swipe from Laura Brannigan's Hi-NRG epic 'Gloria'."[4] Drummer Nick Banks said of this influence, "We are very much influenced by disco, yeah. And of course in the late '80s we got into raves a bit, and music did take on more of a disco thump in places. Yeah, I'm always going down the disco, I love it."[5]
Release
[edit]
"Disco 2000" was released as the third single from Different Class on 27 November 1995.[6] The single reached number seven on the UK Singles Chart, becoming the third top-10 single from Different Class, following "Common People" and the double A-side "Mis-Shapes" / "Sorted for E's & Wizz", both of which reached number two. The song also charted highly in Austria, Finland, Hungary, Iceland and Ireland, and it became Pulp's only top-50 hit in Australia.[7] On 7 October 1996, an orange 7-inch vinyl single was released in the United Kingdom.[8]
Due to its millennial subject matter, Pulp removed the song's synchronisation licence, effectively banning the song from being used in TV and radio trailers throughout 1999 and 2000.[9]
Reception
[edit]
"Disco 2000" has seen critical acclaim and has been labeled by many as one of Pulp's greatest songs. Stephen Thomas Erlewine of AllMusic praised its "glitzy, gaudy stomp."[10] James Masterton for Dotmusic said it "is easily the best track from the Different Class album, the closest they have ever come to an out-and-out pop stormer and certainly a floor-filler at office parties this holiday with its chorus of 'Let's all meet up in the year 2000/Won't it be strange when we're all fully grown.'"[11] A reviewer from Music Week rated it three out of five, adding, "A bouncing disco beat, based on the riff from Laura Branigan's 'Gloria,' sees a pumped-up Pulp and Jarvis doing his usual talking bit. But it may disappoint fans of their recent epics."[12] Simon Price from Melody Maker named it Single of the Week, writing, "But 'Disco 2000', like 'Pink Glove' before it, shows that what fuels his vindictive bitterness is actually a deep romanticism. Like The Human League's 'Louise' or Hot Chocolate's 'It Started with a Kiss', 'Disco 2000' — the second best track on Different Class after 'F.E.E.L.I.N.G.S Called Love' — is Jarvis' fantasy of meeting an old flame and reversing time (romanticism, remember, is equal parts dreaming of what could be, and what could have been)."[13] Ben Willmott from NME said it "is probably not their finest moment of late but it's typical on-form Pulp with an achingly gooey chorus and sexual frustration by the lorryload. Which is good enough for most of us."[14] Adrien Begrand of PopMatters called it a "fabulous single".[15] David Fricke of Rolling Stone wrote, "As a singer and writer, Cocker specializes in hapless pining and geeky self-obsession, desperately holding on to a childhood crush in 'Disco 2000'."[16] Barry Walters of Spin wrote, "This band has quoted disco riffs before, but the way it alludes here to Laura Branigan's 'Gloria' approaches genius."[17]
NME readers ranked the song as Pulp's third best in a fan vote,[18] while Orange County Weekly named the song as the number one Pulp song for beginners.[19] Stereogum's Ryan Leas ranked it as the band's second best, calling it "one of the ultimate Pulp songs" and concluding, "It's about youth and romanticism, but filtered through the perspective of a man already in his early 30s. That's what makes it a classic pop single by Pulp."[20]
In a 1996 interview, Elvis Costello praised the lyricism in the song, stating, "He's [Jarvis] very smart and I like his songs. I love the detail, like the thing in 'Disco 2000': 'There was woodchip on the wall.' I get the feeling that was a real memory."[21]
Music video
[edit]
Pedro Romhanyi directed the music video for "Disco 2000". He adapted the story portrayed on the cover sleeve of the single, designed by Donald Milne. A boy and a girl, played by models Patrick Skinny and Jo Skinny, respectively, meet at a Saturday night disco and hook up.[22] The video uses the 7-inch mix of the song. The members of Pulp are represented on cardboard cutouts and on televisions throughout (for this reason, drummer Nick Banks called the song "the easiest video [they] ever did").[23] Romhanyi explains:
So, in the video we duplicate the photo shoot, changing the order in a couple of cases, and of course add a lot of new stuff - the track is over five minutes long. Donald Milne's work for the album and single is like an artificial version of the real world, where all its mundane features have been removed. So this is what we had to recreate - the Pulp world - without Pulp being in it. The idea for the cutouts came from an old copy of Nova owned by [bassist] Steve Mackey. Jarvis and Steve like things quite crafted and with a sense of structure. A lot of work and a lot of talk that goes on before a frame is shot.[24]
Track listings
[edit]
The liner notes mislabel the album mix of "Disco 2000" as the 7-inch mix.
Musicians
[edit]
Jarvis Cocker: Singer
Russell Senior: Guitar
Mark Webber: Guitar
Candida Doyle: Keyboards
Steve Mackey: Bass guitar
Nick Banks: Drums
Charts
[edit]
Certifications
[edit]
Region Certification Certified units/sales United Kingdom (BPI)[45] Platinum 600,000‡
‡ Sales+streaming figures based on certification alone.
Cover versions
[edit]
The song was covered by Nick Cave as a B-side for Pulp's single "Bad Cover Version" (2002), and again as a "pub rock" version on the deluxe edition of Different Class (2006).[46] Keane covered the song in 2008.
In popular culture
[edit]
"Disco 2000" was featured in Episode 7 of the first series of Life on Mars, where DI Sam Tyler hears it come on the radio in 1973, and mentions to DCI Gene Hunt that he had seen Pulp play the Manchester Nynex in 1996, to Hunt's bemusement. The song also appeared in a party scene in the 2013 Seth Rogen film This Is the End, and again in "The End of the Tour" in 2015.
In 1996, it featured on the UEFA Euro 1996 official album, The Beautiful Game.
The budget airline EasyJet used the song in a 2015 UK commercial celebrating their twenty years of revenue service.[47]
The song is featured on the soundtrack of the 2018 independent adventure game KURSK,[48] and can be heard on the radio at multiple points.
References
[edit]
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https://paulonpop.wordpress.com/2016/11/22/tied-to-the-90s-20-classic-brit-poppers/
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Tied to the 90’s… 20 Classic Brit-Poppers
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[
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[] |
2016-11-22T00:00:00
|
After a recent viewing of the latest Oasis rockumentary Supersonic I was reminded of just how brilliant the 1990s were. Born in 1987, I spent the next decade aging from 3 to 12. So essentially my entire childhood. Really rather integral years in early musical development. Watching the documentary reminded me of how colourful and optimistic the…
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en
|
https://s1.wp.com/i/favicon.ico
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paulonpop
|
https://paulonpop.wordpress.com/2016/11/22/tied-to-the-90s-20-classic-brit-poppers/
|
After a recent viewing of the latest Oasis rockumentary Supersonic I was reminded of just how brilliant the 1990s were. Born in 1987, I spent the next decade aging from 3 to 12. So essentially my entire childhood. Really rather integral years in early musical development.
Watching the documentary reminded me of how colourful and optimistic the decade was, particularly in music. It was a good time to be British. We were pretty cool in the 90s. New politics, a new music scene and a new culture were taking over. Even in cinema Britain was proving to be a force to be reckoned with . Danny Boyle’s Shallow Grave and Trainspotting gave the British cinema industry a fresh new look. Guy Ritche’s Lock Stock and Two Smoking Barrels proved the UK could stand toe to toe with Hollywood. Hugh Grant and Richard Curtis were busy revamping the romantic comedy genre. The Full Monty was a hugely successful international smash, and on top of all that Pierce Brosnan stepped into the role of 007 and rebooted the withering James Bond franchise so spectacularly that GoldenEye became the 4th highest grossing film of 1995.
What I remember mostly about music in the 1990s is that album releases, concerts, the top 40 chart rundown, TV appearances etc were all events. “Events” in the sense that, nowadays you can listen to anything you want whenever you want through your phone. Whereas, pre-internet, everything was met with a lot more grandeur. I remember watching shows such as Top of the Pops, TFI Friday and CD:UK with the entire family, sat around 1 TV. Due to the limited amount of TV channels (compared with today) a big event on telly really was a BIG event.
It was the same with music, there were no leaked albums or singles, no illegal downloading, no streaming, no viral marketing. When an anticipated album or single dropped it was an event. Everything was physical as well. You had to actually take yourself down to the shops and buy a hard copy of a cassette, LP or CD. Nothing was as disposable as it is now.
Another big thing for me in the 1990’s as well was purchasing the Now! compilation albums. They were essentially a collection of the biggest chart singles from the last few months gathered together on a 2 disc (or cassette) set. What I loved about them was the diversity. Unfortunately the UK music ‘charts’ seem to have spiraled into disarray. With the Guinness book of hit singles calling it a day in 2006, unable to keep up with the changing trends in chart referencing, and downloads becoming the preferred medium of distribution, the entire chart now, in my opinion, is open to debate. With the amount of internet outlets one can obtain a song from in this day and age I think it is near impossible to give an accurate account of sales and or downloads.
The diversity in the 1990’s Now! albums was truly wonderful though, and I don’t think you see too much of it these days. Now with specific digital radio stations, TV channels and charts dedicated to each individual genre you don’t seem to get the same eclectic mix of popular music as I remember there being. As well as the Britpop (that was predominately indie-rock), there was a huge boy band and girl band scene of the time, with acts such as Take That, Boyzone, 5ive, East 17, Westlife, The Spice Girls, All Saints, B*Witched etc. There was a big Euro-pop wave that hit UK charts with massive singles from the likes of Aqua, Eiffel 65 and Ace of Base and with a big Ibiza club scene emerging dance anthems and trance music was frequently charting well in Britain. On top of all this you had your rap, R&B, rock, pop-punk, grunge and even Nu-Metal crossing over into the mainstream, and because of music shows such as Top of the Pops all of these acts stood side by side and performed on the same bill. It was great.
For this blog post I have decided to focus solely on the Britpop genre. Firstly the term “Britpop” is ambiguous, and I’ve taken it to mean, indie-rock / pop produced by British artists that was part of a big musical scene in 1990s. Naturally I’ve not been able to cover every act that turned up on Top of the Pops with a guitar and a funny haircut, but here’s 20 of the best:
Blur
One of the seminal pioneers of the Britpop movement were the London based alt-rockers Blur. Constantly reinventing themselves throughout the 90s and beyond, the band experimented in a number of musical genres including indie, hip-hop, electronica and gospel, and always seemed to be ahead of the game bringing something new and fresh to audiences. With 4 UK number 1 albums and 11 top 10 singles in the 1990s alone. Blur were definitely one of the most popular UK acts of the decade.
The Lightning Seeds
With a knack for infectious melodies, the Liverpool based quartet will always be remembered for their mega-hit Three Lions. Together with comedians David Baddiel and Frank Skinner, the Lightning Seeds’ single was the soundtrack to England’s 1996 European football tournament and their 1998 World Cup. Reaching number 1 on both occasions, the song generally resurfaces every couple of years for drunken yobbos to yell in pubs during international footballing competitions. Aside from their novelty soccer record, they produced a string of really catchy singles, including this fantastic cover of The Turtles, 1960’s pop tune You Showed Me.
Ocean Colour Scene
Ocean Colour Scene are definitely one of my favourite acts of the 1990s. The bluesy rockers from Birmingham released one of the major albums of the decade in the form of 1996’s Moseley Shoals. The opening track and lead single from the album, The Riverboat Song was propelled into infamy as it was used every week on Chris Evans’ T.F.I Friday. The show ran for 4 years between 96 and 2000 and pretty much encapsulated the 1990s. I had the privilege of hanging out with the band a few years ago, backstage at a gig in Crewe and presented Simon Fowler with a copy of their single The Circle. After looking it over he had no recollection of even recording the B-side, a cover the The Beatles’ Day Tripper.
Cornershop
This unique musical outfit from Leicester scored a smash hit in 1998 in the form of Brimful of Asha. A relatively obscure single released a year earlier, the song barely charted. However with a re-release of the track remixed by Norman Cook (Fatboy Slim), who was also at the height of his fame, the song went straight in at number 1 in the UK, as well as charting in 11 other countries, and becoming a hit in Europe, the US and Australia. Taking their name from the stereotype that British-Asians “often own corner shops” the band fused indie-rock with electronica and traditional Indian music.
Catatonia
Fronted by Cerys Matthews, the Welsh rockers peaked in fame towards the end of the 1990s, scoring 3 top 10 singles and 2 number 1 albums in 1998/99. Cerys also had a number of side projects in the pipeline around the same time, including a duet with Space on their single The Ballad of Tom Jones and then a duet with (the actual) Tom Jones himself on his Reload album. The album essentially rebooted his career and Cerys lent her vocals to the Christmas classic Baby it’s Cold Outside.
Kula Shaker
With infusions of psychedelia Kula Shaker were one of the “grooviest” British bands of the 90s. Their first record K released in 1996 became the fastest selling debut album in the UK at the time and contained elements of psychedelic rock, raga rock and indie. One of the first singles I ever owned was their 1997 cover of Deep Purple’s Hush which I still think, dare I say it, trumps the original.
Pulp
Together with Suede, Oasis and Blur, Pulp would definitely stand out as one of the “big 4” of Britpop. It’s hard to define the band’s style with traces of glam rock, art-rock, post-punk and indie all jockeying for position. Along with Jarvis Cocker’s obscure melodies and lyrics reading like the work of a working class poet, Pulp are almost indefinable in style. Originating from Sheffield, the band were hugely successful and influential in the 1990s. With huge Britpop anthems such as Common People and Disco 2000 the band stood out as something completely different within the genre.
Supergrass
They were young, they ran green, kept their teeth nice and clean. They saw their friends, saw the sites and felt alright. It is rather bizarre that the Oxfordshire trio had around a dozen hit singles in the 90s but in retrospect are generally only remembered for 1. The infamous Alright peaked at number 2 in the UK charts in 1995 and has since become one of the “go-to” Britpop anthems.
The La’s
Speaking of bands that are only remembered for 1 tune…. The La’s were on the scene, a few years before Britpop took off. Releasing only 1 studio album in 1990 and scoring an international hit with There She Goes in the same year, the group disbanded shortly after. A couple year later, guitarist John Power formed a new band that successfully integrated themselves into the Britpop movement.
Cast
And that band was….. Cast. With 3 top 10 albums and 11 successful singles released throughout the 1990s, the Merseyside quartet had a knack for infectious melodies and 60s inspired lyrics and instrumentation. Their debut album All Change went platinum, becoming the highest selling debut album in the history of the Polydor label. Walkaway is generally considered to be the band’s standout tune, however I remember owning this particular single on cassette circa 1997 and playing it consistently.
Suede
One of the biggest and organically exported British bands of the 1990s were the alt-rockers Suede. At the forefront of the 90’s British invasion, Suede were already dominating the scene by early 1993, with a number 1 album and hit singles on both sides of the pond. Animal Nitrate and Metal Mickey charted strongly in 6 countries, the latter scoring Suede a top 10 single in the USA. Standing out from the crowd as being a bit rockier and a bit more glam, Suede definitely perfected their own sound, which successfully resonated with audiences around the world.
Travis
Jumping on to the tail end of Britpop, the Glaswegian soft-rockers definitely used the 1990s as a launch pad to hit their peak. Their first album Good Feeling didn’t really do too much business in the UK despite spawning 5 top 40 singles. It wasn’t until 1999’s The Man Who that the band really took off. With huge hits such as Turn, Driftwood and Why Does It Always Rain on Me? the band would be at the top of their game for the next few years, producing a very impressive back cataloge of catchy pop records.
Shed Seven
Never quite reaching the heights of their counterparts, Shed Seven were always slightly underneath the mainstream radar. Granted they were a lot less accessible for a pop audience. With more complex and melodic guitar arrangements and a slightly darker tone lyrically, they were never going to get a crowd going like Noel Gallagher could with Don’t Look Back in Anger. I am fond of the band though, and similarly to Cast’s Flying, Shed Seven’s Chasing Rainbows was one of my first singles. In retrospect, I’ve no idea how I obtained it.
Stereophonics
I remember the ‘Phoics being tremendously colourful in the 1990s. Colourful videos, colourful personalities, coulourful tunes and colourful albums. Since their debut album in 1996, the band, I think have done a great job of maintaining a certain quality. Take for example, their first 5 albums in particular, there really isn’t a weak link. Similarly with their singles, from 1996’s Local Boy in the Photograph to 2005’s Dakota there isn’t a great deal of filler.It isn’t surprising that they’re one of the Britpop acts that are still going strong today.
Manic Street Preachers
Another motley crew of Welsh rockers that captured the hearts of 1990’s Britain. By 2002 the group had already racked up enough chart success to release a 20 track Best Of compilation. Scoring their first top 10 hit in 1992, the Manics continued strongly for the rest of the decade, even bagging a number 1 in 1998 with If You Tolerate This Your Children Will Be Next. For me though, they will always be the band that sung the theme tune to one of favourite childhood TV shows, the Renford Rejects:
The Verve
Wigan’s biggest musical export since George Formby. Urban Hymns was one of the biggest albums of the 1990s and also contained 1 of the biggest singles of the 1990s, Bittersweet Symphony. I’ll challenge anyone to come up with a more iconic music video of the decade, as almost 20 years later, it’s still being parodied. Masterminded by front man, vocalist and lead songwriter Richard Ashcroft, after the groups disbandment in the late 90’s he went on to have a very lucrative solo career and is still releasing albums to date.
Elastica
Formed by ex-Suede band members Justine Frischman and Justin Welsh, the band debuted with a number 1 LP in 1995. With only 1 album release in the 1990s, the band’s career was short-lived, but integral to the history of Britpop. The band had a very brief reformation in 2000 with a couple of the original members being replaced, and released their second and final album. With mixed reviews and an unremarkable chart peak, Elastica will always be remembered for their momentary, but brilliant stint in the mid 90s.
Radiohead
Getting inadvertently caught up in the Britpop scene, were the experimental / alternative rock band Radiohead. Their debut single Creep in 1992 is now legendary as an indie-rock anthem, and their 1990’s albums The Bends and OK Computer are some of the most critically acclaimed and commercially successful records of the era. Constantly evolving, the band reshaped their sound for every project, and it’s hardly surprising that they’re still continuing to release hugely acclaimed albums and filling stadiums around the world.
Placebo
Another band caught up in the mid 90’s madness were the alt-rock trio Placebo. Their eponymous debut album in 1996, proved to be groundbreaking on the alternative scene, giving a voice to outsider culture and accidentally spilling over into the mainstream. With lyrics about sex, drugs, gender confusion, bisexuality and suicide, combined with Brian Molko’s quirky vocals and some experimental guitar work, the band are 1 of the most unique outfits of the decade.
Oasis
The brothers Gallagher. The poster boys of the Britpop movement, and without doubt the biggest band on the scene. Unashamedly borrowing, plagiarising and thieving riffs and lyrics from T-Rex, Gary Glitter, Primal Scream, Stevie Wonder and The Beatles to name but a few, the band molded all their influences in to one colourful melding pot of optimism, rebelliousness and unbelievably catchy melodies. With Liam as the face of the band and Noel as the brains, Oasis became gargantuan in the UK and it’s hard to imagine another group (in this day and age) managing to reach the heights of their success.
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1641
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dbpedia
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0
| 33 |
https://radiodepaul.com/album-review-different-class-1995-by-pulp/
|
en
|
Album Review: Different Class (1995) by Pulp
|
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[
"Eva Catterall"
] |
2023-11-02T22:35:47+00:00
|
One of the few musical chart battles given the same level of fanaticism and media attention as WrestleMania was most definitely the battle of Britpop. In 1995, the pending release of Blur’s “Country House” and Oasis’ “Roll with it” on the same day whipped British media into a frenzy over who would reign supreme on […]
|
en
|
Radio DePaul
|
https://radiodepaul.com/album-review-different-class-1995-by-pulp/
|
One of the few musical chart battles given the same level of fanaticism and media attention as WrestleMania was most definitely the battle of Britpop. In 1995, the pending release of Blur’s “Country House” and Oasis’ “Roll with it” on the same day whipped British media into a frenzy over who would reign supreme on the charts. As a cultural moment, Britpop became more of a warzone than a genre; Oasis v. Blur, North v. South. It was at this moment that a 31 year-old Jarvis Cocker and his band Pulp presented us with a third option.
“We don’t want no trouble, we just want the right to be different. That’s all,”
reads the back of 1995’s Different Class, a quote that not only defines the album, but the band’s mission as a whole. Different Class is all about viewing life and love from the fringe; not all too different from Pulp’s history of spending 15 years in the artistic wilderness before finding some mainstream success with 1994’s His ‘n’ Hers, which landed them a last minute stand-in spot at the Glastonbury Music Festival.
The album wastes no time demonstrating this core message, with the first lyrics of the opening track “Mis-shapes”; “Mis-shapes, mistakes, misfits / Raised on a diet of broken biscuits, / Oh, we don’t look the same as you,” a reference to how stores would sell damaged products at a discounted price. It also sets up Cocker’s lyrical style. He plays multiple roles on the album; not only a singer, but a narrator and at times, a confidante, all with an underscore of dark cynicism and wordplay. The album shines with his ability to make the tamest of lines sound like he’s sharing a dirty secret with the audience, ranging from raspy whispers to near-wailing. The story of each song is at the forefront, supported by punchy instrumentals.
This synergistic relationship comes together most effectively on their lead single, “Common People.. The song’s narrative describes a classic boy-meets-girl at an art school, with one defining divide between them: their social classes. Although she’s living the broke art student lifestyle, she has a very wealthy father. The song evolves from a story into more of a tirade, where Cocker berates those who try to ‘blend in’ with the working class when they can avoid any real struggles thanks to their wealth and connections; “‘Cause everybody hates a tourist/Especially one who, who thinks it’s all such a laugh/Yeah, and the chip stains and grease will come out in the bath.” This is all supported by Candida Doyle’s upbeat, danceable keyboard, creating a pop hit reminiscent of earlier success “Babies.”
However, Pulp isn’t afraid to switch it up on a listener without warning, the next song, “I Spy” begins with sorrowful, almost gothic strings. Cocker also spends a good portion of the song speaking over music, setting the themes of class warfare, infidelity, love and voyeurism, which are heavily present throughout the rest of the album.
Marco Rivera Rosa, a sophomore in the School of Music, also noticed a subtler connection in “Disco 2000,” which is a song calling for a teenage crush to meet with the speaker in the year 2000. “That’s ‘Saturday Night’s Alright for Fighting,’ except in this song it’s more longing for old times and how he would’ve stayed with the girl if he was better,” said Rosa, noting similarities between the Elton John track’s chord progression and beat pattern. “Which kinda makes sense because it could be calling back to their teenage years,” he said. His findings speak to the multiple layers of meaning within the album’s sound.
When asked about their favorite song, sophomore Cayte Worthington chose “Monday Morning,” “The lyrics are something I can relate to currently,” said Worthington as the song speaks about the monotonous nature of the workweek. As a recent study from the American Education Research Association found that 43% of full-time college students and 81% of part-time students work while enrolled in college, students are no strangers to the oftentimes repetitive nature of jobs.
The fact that nearly 30 years after its initial release, Different Class still striking chords within people proves just how impressive the album is in its messaging. Although listeners who aren’t familiar with the band already might suffer from some tonal whiplash, especially between “Common People” and “I Spy,” as well as “Monday Morning” and “Bar Italia,” this album is worth a listen. It may be a good idea to acclimate with the poppier sound of His ‘n’ Hers before diving into Different Class completely blind. Despite Pulp’s reputation as “indie nobodies”, (an actual quote from Wet Wet Wet’s lead vocalist), the seamless blend of storytelling, social issues, and instrumentals found within Different Class create a work of art that retains its relevance in this decade.
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1641
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dbpedia
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0
| 25 |
https://spectrumculture.com/2020/05/07/brimful-of-madness-a-britpop-mixtape/
|
en
|
Brimful of Madness: A Britpop Mixtape
|
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"Spectrum Culture Staff"
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2020-05-07T00:00:00
|
Who rules the ‘90s?
|
en
|
Spectrum Culture
|
https://spectrumculture.com/2020/05/07/brimful-of-madness-a-britpop-mixtape/
|
Who rules the ‘90s? Grunge is channeling our inner monsters, fringe is becoming mainstream, hip-hop is taking over, the music industry is shifting from physical to digital. Across the pond, Noel Gallagher’s running around saying Oasis is “taller than Jesus Christ” and even if there are some people who agree, there’s another camp who thinks Blur is better and this is a very definitive choice indeed (if you read the celebrity rags). Britpop was UK’s paisley to America’s plaid, a transatlantic antidote to the growls of our collective unrest. Join us as we recall some of the best Britpop tracks from a transitional decade. Anyway, here’s “Wonderwall…”
* “Wonderwall” not included
Side A (Mod side)
1. Oasis – Some Might Say
Twenty-five years after “Some Might Say” was Oasis’ first UK Number 1 hit, we can’t recapture the freshness and naivete of that moment. Maybe it’s a sharper glance backward, informed by how Oasis’ reputation has developed over time. For anyone who ever speculated about whether Noel Gallagher imagined himself a Beatles protege, or wrote in their echoing image, “Some Might Say” confirms those suspicions:
“Cause I’ve been standing at the station/ In need of education in the rain/ You made no preparation for my reputation once again…”
The slanted rhyme of station, education, preparation and reputation resonates with the energy of the White Album, especially “Revolution.” The next three lines bring back what critic Ben Zimmer called the “serious silliness” of the Beatles: “The sink is full of fishes/ She’s got dirty dishes on the brain/ It was overflowing gently but it’s all elementary my friend.”
Juxtaposing those rhyme schemes feels a bit arrogant in retrospect: all the complex abstract terms, followed by the folly of “fishes” and “dishes.” Did Oasis get away with it? Whether this verse stands as high-minded or goofy has little to do with the powerful anthemic line from the song, “Some might say we will find a brighter day.” A simple message for a fist-pump singalong or a banner to hang somewhere when we find ourselves hoping for a brighter day, no matter the circumstances.
2. Elastica – Connection
How it must have gotten under Brett Anderson and Damon Albarn’s skin that, at the height of the Britpop movement, Elastica was more successful in America than Suede and Blur. But where those bands drew from glam rock and British Invasion-era guitar pop, Elastica—helmed by Justine Frischmann, Anderson’s ex- and Albarn’s then-girlfriend—emulated the zippy ferocity of punk and new wave. Hell, “Connection” reached #53 on the Billboard Hot 100 thanks to a riff borrowed from Wire’s “Three Girl Rhumba.” But the attitude was all Frischmann’s, and even if a lyric like “I don’t understand how a heart is a spade/ But somehow the vital connection is made” was deliberately vague, there’s no denying how fast, fizzy and fun “Connection” is. It’s the kind of song that leaps out of your speakers, grabs you by the shoulders, and shakes you for two and a half minutes—and then, just when you start to get used to the thrill ride, it’s over.
3. There She Goes – The La’s
Simplicity. Ringing, chiming, innocent and aching, the song reduced to its bare elements and held together by Lee Mavers’ nearly-broken voice, strummed guitar lines and tambourine. Never mind that the song would fail to chart upon release and take its own sweet time to find its way to success, never mind that the band would record a near-perfect debut and vanish almost immediately afterwards. The song sits at the dawn of Britpop and does exactly what the emerging genre needed. It looks both forward and back, reminiscing about pop music with its sound and structure, while offering a way to make those moments contemporary and useful once more. The Byrds-like lead guitar line is clear and autumnal, all falling leaves and bright winter days, while the lyrics are open-ended enough to be about almost anything (lost love? heroin?) and so of course it’s turned up on countless mix-tapes, film soundtracks and cover band setlists. Mavers hated it, commenting that “It never captured anything that we were about. To cut a long story short, too many cooks spoil the broth.” But what do authors know of their work? It’s the work that counts and “There She Goes” remains close to perfection as much for what it doesn’t do as what it does. No critical theory, no acerbic dismantling of class structure. Just a song offering a few short minutes of close harmony, mid-Atlantic sounding radio-friendly dreaming. And that’s okay.
4. Cornershop – Brimful of Asha
How funny it is that this little gem by Cornershop is how many Americans became familiarized with Asha Bhosle, who, just half a world away, is an icon of mythic proportions. Dynamo of Bollywood cinema and the most recorded vocalist in music history, Asha Bhosle’s decades-long career as a playback singer illuminates Hindi cinema; “sadi rani” (“our queen”) is a title surely earned. “Brimful of Asha” plays like a strolling devotional, and walking among those “cinema aisles” Tjinder Singh rattles off a list of influences in a curtain call of blessings: Mohammed Rafi; Lata Mangeshkar, Solid State Radio. But in specificity we come to the universal: “Everybody needs a bosom for a pillow/ Mine’s on the 45.” That’s a language everyone can understand.
5. Morrissey – Now My Heart is Full
Does Morrissey even count as Britpop? Well, sure. Many of the marquee acts of the scene were directly influenced by the Smiths and Morrissey’s Vauxhall and I (1994) arrived the same year as Oasis broke through with Definitely Maybe and Blur stunned fans with the career-defining Parklife.
Many consider Vauxhall to be Morrissey’s best solo album and nothing better embodies its spirit better than opening track “Now My Heart is Full.” Perhaps one of the most vulnerable tracks in Morrissey’s arsenal, “Now My Heart is Full” gives us a Moz who is reflective and melancholy. Though he would return to his backbiting, juvenile ways, this song is an emotional tour-de-force from its quiet beginnings to its soaring conclusion. “Tell all my friends/ I don’t have too many/ Just some rain-coated lovers’ puny brothers,” Morrissey laments. Yet his heart is full.
6. Pulp – Do You Remember the First Time?
Pulp’s songs are littered with swaggering cocksmen and infidelity, yet there’s always a tragic bent to these characters that Jarvis Cocker wants to make sure that you grasp. “Do You Remember the First Time?” makes that abundantly clear on the first verse, in which Cocker coyly tempts his ex-lover for a night of sex by reminding her of the staid, safe, boring relationship waiting for her at home. It’s played with a romantic swell, the rising synths giving one the feeling of a John Hughes finale. Yet, when that chorus hits, it’s pure, cynical sadness masked as triumph: he ultimately doesn’t want to rekindle their relationship; he just wants one more night of fun. This is where Pulp began mining the fun in tragedy and the tragedy in fun.
7. Suede – Animal Nitrate
So much of Brit-pop was a revival of the genre’s of British rock’s past, and none of these bands quite got the handle on a style the way that Suede revived and recontextualized glam. “Animal Nitrate” is quintessential Suede in this regard. It has everything: the overwhelming stomp, the otherworldly sneer of Brett Anderson’s voice, and a squealing, macho guitar part from Bernard Butler, perhaps the greatest guitarist to come out of this period in British pop music. The lyrics hint at something dark hiding under the surface, but Anderson isn’t interested in examining it further. No, this song aims for cheap thrills and hits gloriously. Never has wanton, reckless drug use sounded so alluring. I mean, it’s right there in the title.
8. Blur – The Universal
In the battle for Britpop, Blur, and especially lead man Damon Albarn, take up an art school ethos, embracing cleverness, metaphor and social critique. “The Universal” is an exemplar of Blur’s social critique, although in a more subdued tone than some of their more danceable tunes. Reminding listeners that “the future’s been sold” and “No one here is alone / Satellites in every home” places Blur in the middle of late 20th century dystopia. Filmmaker Jonathan Glazer’s music video is an homage to A Clockwork Orange, in which Albarn seems to savor his role imitating Alex, the film’s lead.
Notoriously despised by Albarn’s then-girlfriend Justine Frischmann (then lead singer of Britpop band Elastica), “The Universal” shines on its own terms. It is not a typical pop song in either music or lyrical content, offering a soothing salve that works to contain the ominous warning of complacency-as-giving-up that is central to the song. Wanting the song to be less menacing or more angry would undo the subtle ways it still resonates politically.
9. Kula Shaker – Govinda
Try to separate the message from the messenger if you must – “Govinda” is a Sanskrit chant offered by a white Brit boy after all – but this single from Kula Shaker’s debut K remains an ecstatic fusion of neo-psychedelia and exaltation. Everything here is actualized: the guitar riffs are pure power and Crispian Mills makes good on his spiritual devotion by delivering this prayer through exclamation. When he sings “Nrsimhadeva, Jaya Nrsimhadeva!” there is fire in his belly as he gives glory to the half-lion, half-man incarnation of Krishna. This is such blissful abandon; may the beast defeat the cynic. It’s hard to come away from “Govinda” as anything but a believer.
10. Divine Comedy – National Express
British nostalgia is an odd beast, mostly now a flaccid national self-pity as evidenced in the destructive petulance of Brexit. But the finest moments of Britpop manage to both celebrate nostalgia sonically whilst also pointedly critiquing it as mainstay of the culture industries. In this, “National Express” is a key example, the intro’s gloriously retro brass section announcing the song’s exploration of what happens between being promised that “Tomorrow belongs to me” and arriving as an adult at the death of those dreams. Neil Hannon’s attention to period detail in his singing is a highlight, pasting in Sinatra-esque references while outlining the ways in which memories are the only escape from the horror of the ordinary. It’s no surprise then that “National Express” was loathed by the music press upon its release, lambasted for its perceived mocking of the working classes when, to listen to it now, one can hear the kinds of up-tempo mourning for lost possibilities that made Britpop so interesting. Regardless, the song is, as was intended, a jolly old knees-up, the kind of thing that gets eventually divested of its critical position and is sung round an out-of-tune piano by exactly those people who feature in it.
Side B (Mad side)
1. The Verve – Bittersweet Symphony
Sometimes the obvious choice is still the best choice, for an obvious reason. 1997 marked the end of Britpop—Blur embraced American indie rock and Oasis’ “biggest band in the world” claim disappeared in a cloud of cocaine—but at least the Verve saw to it that it went out with a bang with their masterpiece Urban Hymns. Lead single “Bitter Sweet Symphony” wasn’t just the Verve’s biggest hit, but its resurrection, the band’s first single since a brief breakup in 1995. Even though it might be one of the few Britpop songs (not to mention the only Verve song) that Americans can name, it really is one of the best tunes of the era, with all of its sonic elements—the soul-stirring strings, the boom-bap drumbeat, the guitar effects that sound like a UFO taking off—coming together to form one of the most psychedelic musical experiences since the 1960s. Like all highs, it didn’t last: A failure to clear the opening orchestral sample meant millions in royalties went to the Rolling Stones, and internal conflicts would drive the band apart in 1999. But that’s life, and you’ve got to learn to take the bitter with the sweet.
2. Saint Etienne – He’s on the Phone
Though Saint Etienne falls into the Britpop scene, the long-running group rejected much of the movement’s sound. More refined in instrumentation, more diverse in songwriting and more comfortable in its own skin, Saint Etienne’s music leaned more towards the dancefloor, none more so than its 1995 single “He’s on the Phone.”
Written about an “academia girl” in a bad relationship with a married man, “He’s on the Phone” blows off the more wistful aspect of Saint Etienne’s music for pure Eurodisco pop. It’s shameless dance music designed for the radio. Very much of its time, “He’s on the Phone” still resonates through Sarah Cracknell’s sweet and sad vocal and the song’s unabashed, syrupy strings and horns. While Saint Etienne’s contemporaries would never set foot in a dance club, Cracknell and company embraced the flashing lights and sweating bodies with enthusiasm.
3. Pulp – Disco 2000
“Disco 2000” manages to distill the very essence of Pulp into just over four and a half minutes. All your basic Pulp themes are present and accounted for (classicism, social outcasts, unrequited love, etc.) and coupled with a brilliant chorus hook that allows the song to standout even on an album full of stellar, thematically similar tracks (see also: “Common People”). From the opening guitar riff to the disco groove that kicks the song into high gear to Jarvis Cocker’s first-person narrative, “Disco 2000” offers listeners everything they could ever hope for in a Pulp song, making it something of a calling card for the band in terms of its distillation of lyrical themes, impressive instrumental arrangement and Cocker’s spot-on lyrics delivered from the outcast point of view. “We were friends that was as far as it went,” he sings on the song’s second verse, “I used to walk you home some times but it meant / Aw, it meant nothing to ya cause you were so popular,” the last word virtually spat out before launching into the minor key pre-chorus that leads into the celebratory chorus. Love, longing, loss and hope for a brighter tomorrow, all delivered in the guise of pop song.
4. Suede – The Wild Ones
Destroyer’s Dan Bejar once called Suede’s “The Wild Ones” “one of the great English-language ballads of the last 100 years or so,” and it’s hard to disagree with him. The song sounds like “Thunder Road” written by U2 instead of Bruce Springsteen, right from its poetic opening lines: “There’s a song playing on the radio/ Sky high in the airwaves on the morning show.” From there on down it’s all running dogs and bleeding tattoos, Brett Anderson’s soaring vocals and Bernard Butler’s crushed velvet guitar. Damn right cynical, grunge-addled American critics thought Suede (rebranded as “the London Suede” stateside) were pretentious and melodramatic—almost a year before the fabled “Battle of Britpop,” Anderson and Butler had already set their sights on what was to come after, writing songs that were more romantic and experimental than what the lads in Blur or Oasis were capable of. They almost certainly would have topped it if interpersonal tensions hadn’t driven them apart, but then again, few other Britpop bands wrote a song as magnificent as “The Wild Ones.”
5. Lush – Single Girl
There’s “Miss World,” “50ft Queenie” and “Rebel Girl,” but let’s not leave out Lush’s more temperate but no less disaffected “Single Girl.” Miki Berenyi catalogs the anxieties a break-up brings (“Don’t want talk to myself again tonight/ Don’t wanna put out the light”) but a liberating realization seems to dawn on her as the bridge concludes with a coo that rises and pops like a wayward soap bubble. The tempo slows towards the final proclamation – “Single girl/ I just wanna be a single girl” – and the winding-down represents a deliberate reclamation of time and space. In other words: get the fuck away from me, loser.
6. Supergrass – Caught by the Fuzz
Supergrass busted on to the Britpop scene like feisty little brothers crashing their older siblings rager. Their scrappy, impish demeanor was emulated perfectly by their speedy, wiry punk music and their debut single “Caught by the Fuzz” was a breath of fresh air. While the big boys worried about the grander issues of life, love, work and what it all means, Supergrass had more immediate concerns. In the case of “Caught by the Fuzz” it meant an unfortunate run-in with the cops over some hash. Singer Gaz Coombes manages to capture both the rush and regret of doing something stupid and getting caught, knowing full well he’d do it all over again. After all, you’re only young once.
7. Manic St. Preachers – If You Tolerate This Your Children Will Be Next
Manic Street Preachers could hardly have come up with a more melodramatic refrain for their number one hit “If You Tolerate This Your Children Will Be Next.” Singer James Dean Bradfield, you might think, needs to simmer down a little. Instead, the band weaves a historical call to arms into a reflection on idealism, anxiety and action. With an epic chorus and an unusual organ sound, the Manics hit on a perfect combination for a song that manages to be both an anthem and a deconstruction of its own anthemic nature.
The lyrics draw from history, primarily the Spanish Civil War, in creating their ambivalent web. “The future teaches you to be alone/ The present to be afraid and cold,” Bradfield sings to open the song, inscribing the bleakness that the next four minutes will have to overcome. He moves through 1930s threats to shoot fascists and Orwell’s historiography and British concerns about a dangerous movement growing in Europe. All that tucks into the song, but it never sounds dry. The Manics might doubt the success of idealism turned into violent action, but the chorus never suggests we give up on resistance. Few bands have had the craft to create something that inspires in spite of (and because of) its awareness of inspirational limitations.
8. Pulp – Common People
Pulp were Britpop’s hedonists with a conscience, but there’s very little that’s hedonistic about “Common People.” If anything, “Common People” is a condemnation of a specific type of hedonism, one that can only be indulged by those with the means to do so. Given their origins in the northern industrial city of Sheffield, it’s easy to see how Pulp may have been more attuned to the issues of gentrification and class tourism that some of Britpop’s London-based groups may have been blind to. And “Common People” pulls no punches in this regard: the seething contempt that Jarvis Cocker has for wealthy kids slumming it in poor neighborhoods is palpable with every line, particularly on the song’s iconic chorus: “You’ll never live like common people/ Never do whatever common people do/ Never fail like common people/ Never watch your life slide out of view.” Pulp brought indelible dance beats and day-glo synths to Britpop, but it’s Cocker’s acid tongue that makes “Common People” a classic.
9. Oasis – Slide Away
Oasis wore a lot of hats on their first two albums: they could be sneering, hedonistic and even kind of romantic. Most of all though, there was an air of positivity that was unlike anything their peers were putting out at the time, and “Slide Away” is imbued with that spirit. It has a striving spirit that is sadly lacking in most of Britpop as a genre, even as Oasis eventually came to define what it sounded like. While most of the album “Slide Away” comes from (Definitely Maybe) stomps in borrowed swagger and guitar sludge, “Slide Away” soars above it all. Framed as a love song, the lyrics could easily be Noel and Liam speaking to each other in happier times. A pair of nobodies from Manchester with dreams of rock stardom, the song is filled with hope that those dreams will eventually come true. Neither Oasis nor the rest of Britpop ever sounded this full of life afterwards.
10. James – Out to Get You
James had been making music since the early-‘80s before scoring an international smash with hit single, “Laid,” in 1993. Long-popular in native Great Britain, the fruits of the band’s labor paid off and for a short period of time they were one of the biggest acts in the world.
“Laid,” however, was an outlier on the album of the same name. Most of James’ music therein revealed itself to be raw, solemn songs about broken hearts and emotional strife. Take opening track, “Out to Get You,” which begins with a languid guitar lick and unfolds into a squalling, expressive performance by vocalist Tim Booth. Produced by Brian Eno, Laid and “Out to Get You” continue to be sonically rich experiences that still tug at the heartstrings nearly three decades later. –
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Make Your Day
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Disco 2000 (song)
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"Disco 2000"Single by Pulpfrom the album Different Class B-side"Ansaphone"Released27 November 1995 ( )GenreBritpopLength
4:33 (album version)
4:51 (7-inch mix)
LabelIslandSongwriter(s)
Jarvis Cocker
Nick Banks
Steve Mackey
Russell Senior
Candida Doyle
Mark Webber
Producer(s)
Chris Thomas (album version)
Alan Tarney (single, 7-inch remix)
Pulp singles chronology
"Mis-Shapes" / "Sorted for E's & Wizz"
(1995) "Disco 2000"
(1995) "Something Changed"
(1996)
Alternative cover
"Disco 2000" is a 1995 song by English alternative rock band Pulp and is the third single from their fifth studio album Different Class. It went to number 7 in the United Kingdom, number 8 in Scotland and Hungary, number 35 in Australia, number 2 in Iceland, number 14 in Austria and number 13 in Ireland.
All lyrics written by Jarvis Cocker, all music composed by Jarvis Cocker, Nick Banks, Steve Mackey, Russell Senior, Candida Doyle and Mark Webber.
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DISCO 2000 at the White Bear
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The best music from the 90's
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100 Best Songs of the 2000s
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[
""
] | null |
[
"Rolling Stone"
] |
2011-06-17T16:35:00+00:00
|
100 Best Songs of the 2000s: From Beyonce and Lady Gaga to Radiohead and Kanye West, the best songs from the first decade of 21st Century.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/100-best-songs-of-the-2000s-153056/
|
The music of the Aughts was all over the map in the very best way, with file sharing and randomly produced personal playlists encouraging eclecticism and experimentation in both artists and listeners. Rolling Stone‘s list of the decade’s 100 best songs – which was originally unveiled in 2009 and was compiled by a group of over 100 artists, critics and industry insiders – includes garage rock revivalists, dance-happy indie, sassy starlets, slick modern R&B, boundary-shattering pop hybrids and a few familiar icons from previous eras. The most exciting thing about this selection of tunes is that, despite all the different styles and voices in the mix, it all sounds totally natural together. In fact, you might already have a playlist that looks just like it.
|
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1641
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dbpedia
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3
| 32 |
http://eoimarbella.es/semi/EOI_IN5_U1_T1_Contenidos_v01/4_britpop.html
|
en
|
4. Britpop
|
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[] | null |
es
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favicon.ico
| null |
Read the following text and find words for the definitions below:
ENGLAND'S CULTURE: BRITPOP
Britpop is a British alternative rock movement from the middle 90s, characterised with the appearance of bands who borrowed many influences from 60s and 70s while creating big and catchy hooks, as well as the glamour of earlier pop stardom and the sense that they were creating the soundtrack to the lives of a new generation of British youth. Although incredibly popular from about 1994-1996, it has been criticised for its lack of innovation.
ORIGINS
Britpop evolved in the early 90s as a response to the American grunge, new wave and punk revival movements. Britpop groups were primarily influenced by the music of the 60s and 70s, particularly British Invasion cornerstones like The Beatles, The Rolling Stones, Pink Floyd and Led Zeppelin. Classic Mod bands like The Who, The Kinks and The Small Faces were also cited as influences.
Another source were 70s' glam idols such as David Bowie, T. Rex, Roxy Music, and punk and new wave artists like The Sex Pistols, Talking Heads, The Clash, The Jam, Madness, XTC, and Elvis Costello. The Indie rock outfits of the 80s exemplified by The Smiths, Depeche Mode, U2, Duran Duran, The Cure and R.E.M. were cited too.
It should also be noted that late 80s and early 90s acts like The Stone Roses and ex-Jam frontman Paul Weller, with their referencing of 70s rock music, were big influences on the Britpop sound, which in the case of bands like Kula Shaker moved towards psychedelia.
PAUL WELLER (1991-1993)
Weller in particular is praised as the founder and initiator of the movement. His records Paul Weller (1991) and Wild Wood (1993) are considered seminal forces for the movements of the following years. His influence over the Britpop, coupled with his love of Mod music, had earned him the nickname "The Modfather". As well as guiding Blur, Oasis and Ocean Colour Scene through his recordings, Weller has also performed with the bands, including playing guitar on Oasis' "Champagne Supernova".
BRITPOP AND COOL BRITANNIA (1994- MIDDLE 1996)
Fans of the Britpop are divided which album kick-started the movement. Oasis’ breakthrough debut Definitely Maybe, Blur's bombastic third album Parklife and Suede's self-titled debut are all contenders. These albums defined the movement and paved the way for many other acts. The Britpop movement rapidly gained huge media and fan attention in Britain, Western Europe and some parts of the US.
In 1995 the Britpop movement reached its zenith. The famous “Battle of the Bands” found Blur and Oasis as prime contenders for the title “Kings of Britpop”. Spurred on by the media, the "Battle" was headed by two groups - Oasis' brothers Noel and Liam Gallagher representing the North of England, and from Blur, Damon Albarn and Alex James representing the South. This "Battle" was epitomised when, after some back-handed marketing, Oasis' Single "Roll With It" and Blur's "Country House" were released in the same week. The event caught the public's imagination and gained mass media attention - even featuring on the BBC News. In the end, Blur won, selling 274,000 copies to Oasis' 216,000 - the songs charting at number 1 and number 2 respectively. However, in the long-run, Oasis' album (What's the Story) Morning Glory won the popular vote over Blur’s The Great Escape, although Blur's album received more critical acclaim.
In the UK, What's the Story spent over three times as long on the charts (a total of three years) and outsold Blur's album over four to one, selling over eighteen million copies. Oasis' second album is widely considered to be the definitive Britpop album capturing the essence of the attitude and the Cool Britannia movement.
Although the majority of the bands associated with Britpop were English, there were exceptions. Super Furry Animals, Manic Street Preachers and Stereophonics were Welsh. Others like Travis and Belle and Sebastian were Scottish. There were also Irish acts and not to mention the infamous Gallagher brothers, who were Irish descendants. Thus the movement and Britpop hysteria engulfed not just one province or city; it wrapped the entire region and was established as a definitive British movement in musical and spiritual way.
BRITPOP WEAKENS (LATE 1996 - 1998)
In late 1996, the movement and hysteria started to subside due to high expectations, burnout and drug fuelled lives - common traits from the inspiring bands of the 60s and 70s. It received some late impetus from Radiohead and The Verve, who weren't previously considered to be Britpop acts with their respective 1997 albums OK Computer and Urban Hymns, both of which were widely acclaimed.
Other acts including Suede, Pulp, Supergrass and Cornershop made some challenging records, but Britpop was on the way out. Initiators like Oasis and Blur turned their backs on the movement scene. Be Here Now, Oasis' third album, although selling strongly to a still loyal fanbase, attracted strong criticism from critics and record-buyers. Blur's self-titled fifth effort was better received but departed from the familiar style of Parklife and The Great Escape.
DEATH OF THE MOVEMENT (1998-1999)
By the late 90s, Britpop was largely considered to be a spent force musically. Blur continued to move away from the movement with their subsequent releases, parting company with longtime producer Stephen Street and guitarist Graham Coxon in the process. Ironically a couple of years after Coxon left, the latter realigned with Street to record his solo records. Oasis remained popular amongst their fans although their later albums failed to achieve the heights previously set, and they also suffered the loss of longterm members Bonehead, Guigsy and Alan White. Suede soldiered on, releasing two more albums, but eventually called it quits in 2003. Pulp entered in a big hiatus, while The Verve, after losing key guitarist Nick McCabe, also split, although their frontman Richard Ashcroft subsequently forged a successful solo career. Radiohead, never the most strongly associated band with the movement, radically changed their sound with Kid A and abandoned all pretence of being a Britpop style band.
SECOND WAVE OF SIMILAR ACTS (2000 - PRESENT)
After the initial wave died in late 90s, new groups started to appear in the early 2000s. Bands such as Muse, Travis and Coldplay drew inspiration from the earlier sound. Albums such as Showbiz and Absolution (Muse), Parachutes and A Rush of Blood to the Head (Coldplay), and The Man Who and The Invisible Band (Travis) showed lesser or greater Britpop influences. In 2003 and 2004 bigger influx happened of more new acts. Bands such as Doves, Franz Ferdinand and Kasabian showed Britpop influences in their work. The last couple of years other acts like Elbow, The Libertines and Keane have also come to the fore, with music, influenced by Oasis and Radiohead.
|
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0
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https://us.rarevinyl.com/products/pulp-disco-2000-uk-2-cd-single-double-set-cid-x623-225879
|
en
|
Pulp Disco 2000 UK 2-CD single set
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PULP Disco 2000 (1995 UK 8-track 2-CD single set, including 2 Motiv8 mixes, each parts in their own jewel case with their original 'discotheque' picture sleeve CID/X623) Tracklisting & Info: 1. Disco 2000 (7" Mix) 2. Disco 2000 (Album Mix) 3. Ansaphone 4. Live Bed Show (Extended) 5. Disco 2000 (Album Mix) 6. Disco 2000 (7" Mix) 7. Disco 2000 (Motiv8 Discoid Mix) 8. Disco 2000 (Motiv8 Gimp Dub) Year of Release - 1995 Format - 2-CD single set (Double CD single) Record Label - Island Catalogue No - CID/X623 Country of Origin - United Kingdom Barcode - 042285449525
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en
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//us.rarevinyl.com/cdn/shop/files/RareVinyl.com_FavIcon_32x32.png?v=1646246276
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RareVinyl.com
|
https://us.rarevinyl.com/products/pulp-disco-2000-uk-2-cd-single-double-set-cid-x623-225879
|
Sold Out – Sign Up for Back in Stock Email Alerts
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Selling Vinyl Since 1985. Over 15,000 5 Star Reviews.
PULP Disco 2000 (1995 UK 8-track 2-CD single set, including 2 Motiv8 mixes, each parts in their own jewel case with their original 'discotheque' picture sleeve CID/X623)
TRACKLISTING AND EXTRA INFORMATION
1. Disco 2000 (7" Mix)
2. Disco 2000 (Album Mix)
3. Ansaphone
4. Live Bed Show (Extended)
5. Disco 2000 (Album Mix)
6. Disco 2000 (7" Mix)
7. Disco 2000 (Motiv8 Discoid Mix)
8. Disco 2000 (Motiv8 Gimp Dub)
Artist - Pulp (click link for complete listing)
Title - Disco 2000 (click link for more of the same title)
Year of Release - 1995
Format - 2-CD single set (Double CD single)
Record Label - Island
Catalogue No - CID/X623 (click link for more)
Country of Origin - United Kingdom (UK)
Language - Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description.
Additional info - Deleted, Picture Sleeve
Barcode - 042285449525
Condition - This item is in Excellent condition or better (unless it says otherwise in the above description). We buy items as close to Mint condition as possible and many will be unplayed and as close to new as you could hope to find. Irrespective of the source, all of our collectables meet our strict grading and are 100% guaranteed. Click here for more info.
RareVinyl.com Ref No - PUL2SDI225879
Related Artists - Alpha, Jarv Is, Jarvis Cocker, Relaxed Muscle, The Chocolate Layers, The Lovers, The Nu Forest, The White Sport.
GENRES
Britpop, Indie, NME Indie/Alternative Artists, POP.
REFERENCE
Email - [email protected] to contact our sales team.
RareVinyl.com Reference Number - PUL2SDI225879
SELL TO US
Got vinyl records, CDs or music memorabilia to sell? – Sell to us at our buying site https://vinyl-wanted.com
|
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1641
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2
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https://www.radiox.co.uk/games-quizzes/can-you-get-100-of-the-lyrics-to-disco-2000-by-pulp-correct/
|
en
|
Can you get 100% of the lyrics to Disco 2000 by Pulp correct?
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[
""
] | null |
[
"Radio X",
"Martin O'Gorman"
] |
2023-11-27T19:52:45+00:00
|
How well do you know the Britpop classic, over a quarter of a century later?
|
en
|
/assets_v4r/xfm/img/favicon-16x16.png
|
Radio X
|
https://www.radiox.co.uk/games-quizzes/can-you-get-100-of-the-lyrics-to-disco-2000-by-pulp-correct/
|
How well do you know the Britpop classic, over a quarter of a century later?
Disco 2000 is one of Pulp's best-loved songs. Written about the teenage years of Jarvis Cocker, the track was taken from its parent album Different Class and issued as a single on 27th November 1995 - just five years before the excitement and the anticipation of the Millennium celebrations.
The release capped an amazing year of Britpop, but now it's over a quarter of a century old, have you mastered the lyrics to Disco 2000? Even the talky bit from the single version? We'll give you a line and you have to fill in the gaps with the correct words.
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1641
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dbpedia
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https://albumism.com/features/pulp-different-class-turns-25-anniversary-retrospective
|
en
|
Rediscover Pulp’s ‘Different Class’ (1995)
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[] |
[] |
[
""
] | null |
[
"Rayna Khaitan"
] |
2020-10-28T16:33:32-04:00
|
With their fifth studio affair, Pulp extended a message of solidarity—an open invitation to wallflowers, weirdos and pretty much anyone who’s ever dwelt in the fringes.
|
en
|
https://images.squarespace-cdn.com/content/v1/56858337cbced60d3b293aef/4c7940fd-09d5-4c29-b69d-002cc344ce69/favicon.ico?format=100w
|
Albumism
|
https://albumism.com/features/pulp-different-class-turns-25-anniversary-retrospective
|
Happy 25th Anniversary to Pulp’s fifth studio album Different Class, originally released October 30, 1995.
As a teenager, I often felt I arrived too late. If only I’d been born 10 or 15 years earlier, I could have started seeing Cure shows from the very beginning. But, such was my plight and every day since I’ve tried to make up for lost time.
While I still fantasize about being of age in the New Wave era, the truth is I had the privilege of experiencing what followed: Giving rise to myriad genres, such as shoegaze, electronica, trip hop, slowcore, indie rock and Britpop, the 1990s were a decidedly grand decade for music—a rich sonic palette to shower my adolescent mind.
I treasure artists from every aforementioned category (and certainly there’s crossover across the lot), but hopeless Anglophile that I am, I must confess Britpop has a special place in my heart. And more than any other genre mentioned, it remains fixated in my youth. That’s not to say I enjoy it any less. Rather, I associate it with a specific period in my life, an experimental time—those bygone days of pure and utter invincibility.
Some of my best college nights were spent with friends at Britpop club Cafe Bleu in West Hollywood. Any Thursday we could, we’d gather for drinks and then too many of us would pile into a taxi sloshing our to-go Solo red cups, ready to wreak our gentle brand of havoc. Dressed to kill and electrified by the music, we shimmied and spun, sometimes right off the stage (something we needn’t rehash here), hazily reveling in new friendships, experiences and substances—the swirl ever brightening. And at the center of our luminous Britpop world was a quirky band from Sheffield called Pulp.
Oh yes, we may have felt invincible in a few tipple-tipped moments, but we were also walking question marks. After all, we were just entering adulthood and had no idea what we were doing (not that getting older has changed things much). And blame it on my introversion or lack of school spirit, though I’d gone from a suburban high school of 1,300 to a major metropolitan university of 40,000, I still wasn’t sure if, or where, I really fit in. It was in music, I felt connected.
Wrapping unglamorous intimate thoughts in glossy drama, Pulp caught my fancy in high school. At that point, the band, led by vocalist/guitarist Jarvis Cocker, had already been at it for 16 years, trying out different names, labels and sounds—not to mention lineups. By the turn of the ‘90s, Pulp had found its footing. With Cocker enlisting the talents of percussionist Nick Banks, keyboardist Candida Doyle, bassist Steve Mackey and guitarist/violinist Russell Senior, the group finally struck commercial success with their fourth studio LP, His ‘n’ Hers (1994). Having pierced the UK Top 40, jaunty single “Do You Remember the First Time?” then hopped the pond, offering my first taste of Pulp.
I wish I could say it started there, especially since I’d later discover that His ‘n’ Hers marked the beginning of an unstoppable period in Pulp’s artistic career—and was, appropriately, the first of three consecutive albums to be nominated for the Mercury Music Prize. But, as my thinly veiled lyrical nod suggests, it was “Common People”—the rousing salutation from Pulp’s fifth album, Different Class—that hooked me.
Beaming with cunning, camp and cannonball gusto, both the single and the album immediately became quintessential Britpop listening, as we happily tore into the gifts of Cocker’s persistence.
Inspired by a jumbled array of influences—a secondhand keyboard, a student he met at Saint Martin’s School of Art and Electric Light Orchestra’s “Mr. Blue Sky”—“Common People” emerged first, the boppy by-product of Cocker’s London days. After road testing the tune at the 1994 Reading Festival, the band gleaned its galvanizing qualities and rushed to record it (along with B-side and album track, “Underwear”) with the help of storied producer Chris Thomas that very year.
In the spring of 1995, “Common People” made its official debut, delighting the alternative masses with its ever-building tempo and cheeky retelling of misaligned romance (“But she didn’t understand / She just smiled and held my hand”). Even B-side “Underwear,” in all its slinky panic, slid its way into regular rotation across airwaves, as hype around Pulp continued to grow, rivaling Britpop heavyweights Blur, Oasis and Suede.
While momentum mounted, the six-piece Pulp (who’d added touring guitarist Mark Webber in May 1995) were tucked away at Banks’ mother’s pottery warehouse in Catcliffe, on the outskirts of Sheffield, seeing to an urgent challenge—the rest of the album. (No pressure or anything, right?)
In the liner notes of the Different Class reissue (2006), Cocker recalls, “This marked the beginning of a period of extremely frenzied activity (which, after 10 years of moving at a snail’s pace, was quite a shock to our delicate systems, I can tell you)….By June we thought we had enough good material and went back up to Sheffield to ‘demo’ it all….Next problem – I hadn’t written any words for them. The only solution was to sit in my sister’s kitchen one night with a bottle of cheap Spanish brandy and write until I lost consciousness….”
Where Cocker had struggled artistically in the past, the songs of Different Class flowed effortlessly, pouring out as if a lifetime in the making. Perhaps his time away from Sheffield, in London and Paris, afforded new perspective, lending the right creative spark to easily bring forth his vision.
Like the emanations of a hidden—or even forbidden—observer, Cocker’s words tumble out like entwined narratives, coupling his own inner dialogue with snatches of eavesdropped conversations. Enriched with personal detail, they’re direct, expositional and unafraid to confront private, if quotidian, affairs—the bedroom missteps of the common people (“Oh yeah, all the stuff they tell you about in the movies / But this isn't chocolate boxes and roses / It’s dirtier than that / Like some small animal that only comes out at night”).
For as entertaining and enviable as Cocker is, with his sartorial sheen and sexy swagger, he also freely explores life’s awkward moments. As a frontman, Cocker exudes the charisma of a rockstar. But, in Pulp songs, he’s more apt to channel the preoccupied misfit rather than the affable champ (“When I came around to call / You didn’t notice me at all”).
With Different Class, Pulp extended a message of solidarity—an open invitation to wallflowers, weirdos and pretty much anyone who’s ever dwelt in the fringes. Album opener, “Mis-shapes,” wastes no time making the point, immediately waving its rallying cry: “Mis-shapes, mistakes, misfits / Raised on a diet of broken biscuits / Oh, we don't look the same as you / We don’t do the things you do / But we live round here too.”
Even “Common People,” for all its anthemic exuberance, cast the net, drawing strength and community from its own despondent skin: “You will never understand / How it feels to live your life / With no meaning or control / And with nowhere left to go.”
As had always been the goal, Pulp brought a refreshing air of realism to pop. In the BBC documentary, No Sleep Till Sheffield: Pulp Go Public, Cocker remembers, “I always felt a bit let down by the words in pop songs and I suppose it was alright when pop songs first started cos they were new….But now, you know, it’s been around for 40 years. It’s entered middle age, so it may as well start talking about things in an adult way.”
By attaching the sadder sides of existence to catchy chords and lush instrumentation, Pulp managed to reassure us that it’s OK to be whoever you are. And should their compositions fail to relay the sentiment, the liner notes contain the band’s coy, resounding plea: “Please understand. We don’t want no trouble. We just want the right to be different. That’s all.”
My shy 18-year-old self smiled in complete understanding. Confidence, I was discovering, comes from being true to yourself.
Vibrant and vulnerable, Different Class would remain in heavy rotation for years—as much a part of my college experience as the perennial LA sunshine. It escorted me from adolescence to adulthood, doling out doses of distraction and consolation in equal measure. And when I think of all the times I listened with friends—whether at clubs or after class on my balcony—I remember a distinct sense of liberation. We were on the cusp of everything, and exactly where we needed to be.
Fellow fans of Different Class, you’ll catch my drift when I say, it’s that uncontainable feeling conjured by Cocker singing, “Just keep on moving….”
|
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1641
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0
| 30 |
https://blog.roughtrade.com/gb/rough-trade-essential-britpop/
|
en
|
Rough Trade Essential: Britpop
|
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[
""
] | null |
[
"Georgia"
] |
2023-03-03T14:10:09+00:00
|
Britpop. Love it or hate it, it's back with a bang. Or maybe it never went away. Explore the scene's essential artists, albums and moments.
|
Rough Trade Blog
|
https://blog.roughtrade.com/gb/rough-trade-essential-britpop/
|
"If punk was about getting rid of hippies, then I’m getting rid of grunge!"
Damon Albarn
Regional accents, a new upbeat form of rock, records which sold in their millions. The cultural movement of Britpop (in its key timespan of 1993–1997), is responsible for some of music's most triumphant scenes, fondly remembered by many who grew up alongside its rise.
Britpop's pop culture dominance came at a turning point for 90s music, a reaction to the emotional, riff heavy sound of 'grunge', Britpop was equally as guitar driven, but a more lighthearted aesthetic, relatable songwriting and infectious nostalgia. The genre's longevity and impact continues to be felt, as this summer, two of the most popular Britpop bands of the 1990s are set to reunite after more than a decade for massive live shows, Blur performing two sold-out concerts at the 90,000 capacity Wembley Stadium in July (+ a brand new album), and Pulp headlining outdoor shows and festivals across the country from May.
Whilst the feel good nature of the genre continues to resonate, our reflection of the Britpop days is not all sunshine and roses, with today's musical landscape very much evolved from spotlighting 'identifiably English' music from 'the boys in the band'.
"Britpop’s dead – it’s a rotten corpse lying on the floor,” she says. “I think it’s good that it has gone and that everything’s changing. It’s really interesting to see what’s going to happen next. That’s why music’s exciting."
- Lousie Weener from Sleeper for Say It With Garage Flowers
Alongside examining the defining artists of the era, we celebrate the legacy of Britpop by also considering the artists who were influenced by acts like Oasis and Blur but had something different to say, perhaps fitting better within the post-Britpop category, a step away from the scene's romanticision of Britishness.
From brotherly feuds, rival bands, number one bestsellers, the first 'post-Britpop' album and being a female musician in the Britpop days. Here is our list of Britpop's Rough Trade Essential artists and it's definitive moments.
Oasis - Definitely, Maybe (1994)
One of the fastest-selling debut albums in the UK at the time, Oasis’ debut album went straight to No 1, selling 100,000 copies in 4 days. Speaking to the 'everyday man' with a punk-like quality and captivating charm, Liam and Noel Gallagher and the gang managed to set the blueprint for the buzz and confidence embedded in the Britpop genre.
Oasis -What's The Story, Morning Glory (1995)
Equally as essential as their debut is Oasis' second album, coming in just as hot as its predecessor. On its first day in the shops What’s The Story, Morning Glory was selling at a rate of 2 copies a minute through HMV’s London stores. Despite the album's success its recording sessions and stories of its creation are very much associated with the Gallagher brother's early bust-up which would eventually lead them to implode in 2009.
Elastica - S/T (1995)
Although the Britpop scene of the 90's was largely considered a boys club, there were a number of female-fronted bands which should be remembered as key players defining the sound in their own unique way. Elastica was the brainchild of frontwoman and primary songwriter, Justine Frischman, alongside Justin Welch after originally founding Suede with Brett Anderson.
Looking to distinguish themselves from the existing Britpop titans Elastica honed a similar pop-punk sound but with more edge, more sharp-witted than the flowery, glam lyricism of Suede. In some ways musically andogynous Elastica was driven by women who could play, with Frischmann and Donna Matthews on guitar and Annie Holland playing the bass. A recipe for success, Elastica rocketed to the top of the charts in '95, breaking the records for the fastest-selling debut album in the UK.
M.I.A (early 2000's, post Britpop)
Despite the instant success Frischmann's journey with Elastica was shortlived and in 2001 the band announced their breakup, stating that the band had run its course: “Believe it or not, Elastica have been together for almost 10 years which is probably as long as any band should be together." (Frischmann) The former frontwoman made way for a new voice in British pop, spending her next few years developing artist M.I.A. her friend and flatmate, co-wrote and produced M.I.A.'s demos for her first album, Arular. With an affinity to punk and the rough edges of Elastica, M.I.A was a very different version of British pop, but in many ways very much offspring of the scene.
Blur - Parklife (1994)
Damon Albarn, Graham Coxon, Alex James and Dave Rowntree. The four aspiring rockers met in Goldsmith university circles and never looked back. Heavily influenced by The Charlatans and The Stone Roses, their debut album Leisure (1991) is viewed by many as the beginnings of Britpop with its catchy hooks and pop fuzz. Three years later in '94 Blur made a huge commercial jump with Parklife, a time capsule of an album that's as "English as a rainy Sunday in front of the gas fire." After entering a chart battle with rival band Oasis in 1995, where "the battle of Britpop" began, and the two bands began to fight it out for chart posistions, perpetuating fundamental and perhaps contrived differences between their paths to sucesss, Blur the Southern “Art school wankers” and Oasis, the working class heroes.
The La's - S/T (1990, pre-Britpop)
As previously mentioned The La's can be credited as early influencers of the Britpop sound. Although a short lived career (one studio release in 1990) the group created a real classic, jangly, well-crafted songs. There most famed hit There She Goes would not sound out of place in a Britpop compilation, yet also fit right in with the then fading Madchester scene, as Lee Mavers laid out a model for perfect melodies with timeless songwriting.
As Noel Gallagher once declared: "Oasis want to finish what The La's started."
Supergrass - I Should Coco (1995)
"We are young / we are free / Keep our teeth / nice and clean"
The perfect snapshot of adolescence, I Should Coco was Supergrass' most influential Britpop statement, representing the youth of today with the same exuberance as Oasis or Blur. The record scored critical acclaim across the board, topping the charts and bagging a Mercury Nomination. A Britpop successs if there ever was one.
The Stone Roses - The Stone Roses (1989, pre-Britpop)
Another band that fit into the story of Britpop's evolution via Manchester, The Stone Roses more firmly sit in the Madchester scene, a psychedelic dance extravaganza that ushered in the era of baggy trousers, Kangols, and the Hacienda. But with guitar driven music, unique take on 60s British pop and lyrics that challenged the status quo, it got the ball rolling for the slew of bands that would define the 90s Britpop era.
Suede - S/T (1993)
Very much part of the big four which defined the brand, (Oasis, Blur and Pulp) Suede were creative and fluid in their musical approach, refashioning the glam aesthetic of 70's Bowie. With much of their lyrics touching on the reality of life in London with its highs and its lows Suede came out as strong forerunners in the Britpop pack. Although they were later keen to not lean into the label, their debut presented the perfect pop songs, with an androgyny, attitude and irony that acted as a catalyst for the Britpop movement.
Lush (1987 onwards)
Britpop's story shouldn't be mapped out without mentioning Lush. Labelled both shoegaze and Britpop, the band formed and were active in the key Britpop years (1987-1996) Lush’s sound contained anti-misogynistic themes, their most famous song, Ladykillers speculated to be a feminist anthem. With two female guitarits/vocalists Lush stood apart from the British bands of the time, the original line-up consisted of Miki Berenyi (vocals, guitar), Emma Anderson (vocals, guitar), Steve Rippon (bass guitar) and the late Chris Acland (drums).
With a brilliant singer in Miki Berenyi, Lush's success was largely tied together under her distinctive voice. Miki has gone on to provide an eye opening and alternative account of the glory days of Britpop, Fingers Crossed, which we have celebrated and poured over as our Book of the Year 2022.
The Verve- Urban Hymns (1997,post-Britpop)
Urban Hymns set the bar extremely high for British music, with rousing rock dynamics a Y2K movie moment for the ages, based around the at-times tender song writing of Richard Ashcroft. It's hard to define their sound as their psych style anthems also lean into the shoegaze textures, yet their masterful existential pop harks back to the Britpop heyday.
Pulp - Different Class (1995)
"I wanna live like common people / I wanna do whatever common people do"
With their classic Britpop anthems, Pulp lent into the Britpop essence of depicting identity, constructing the idea of us and them. Grandly theatrical, synth-spiked, kitchen-drama pop with new wave and disco flourishes, Different Class is a defining record of the period, its uplifting swagger a template for a nation about to be swept up by Euro 96.
Radiohead - The Bends (1995)
Whether this can be labelled Britpop is hotly contested, by both the band themselves and their fans. Compassionate and anthemic, Radiohead's second album falls into a few of Britpop's sonic traits. Yet the band's melancholic beauty was very much bolstered by more experimental, progressive and explosive stylisms, making it inaccurate to pidgeonhole to one genre. Either way, The Bends is one of the most essential albums of the 1990s, an early marker for one of the most enduring British bands of today.
“The whole Britpop thing made me fucking angry. I hated it. It was backwards-looking, and I didn’t want any part of it.”
- Thom Yorke, Rolling Stone, 2017
Other mentions...
Often overlooked but also responsible for some of Britpop's biggest hits Sleeper are a respected band of the time, fronted by Louise Weener, an excellent and charismatic songwriter whose talent was resented and misrepresented by the misogynistic industry of the era.
Also deserving of recognition is Dubstar, an indie dance duo comprised of Sarah Blackwood and Chris Wilkie whose seminal '90s albums offered something a bit different from their contemporaries but still stood alongside the best records Britpop had to offer.
A Britpop titan, starting out as the frontman for The Jam and developing the band The Style Council up until 1989, Paul Weller's solo works Wild Wood and Stanley Road were huge Britpop hits with bands such as Oasis, Blur, The Charlatans and of course Ocean Colour Scene, mentioning Weller as an influence or directly working with the ModFather himself.
The focused songwriting of Britpop was embraced by The Charlatans, Tim Burgess' sunny yet yearning vocals fitting right in with the Britpop pack, providing snapshots of modern life and its highs and lows. Reinforcing the simple yet effective guitar playing which Britpop was distinguished for, the shortlived career of The Seahorses (formed by former Stone Roses guitarist John Squire) should also be reflected on as a Britpop classic. Liverpool indie rockers Cast (formed by Peter Wilkinson and John Powers formerly of the La's) are another memorable band of the Britpop era, with their ballad Walkaway, the soundtrack to many Liverpool Football Club and England cup exits during the ’90s (Euro 96 anyone?...). Solihull's Ocean Colour Scene were equally propelled to success in the midst of the Britpop craze, as OCS singer and guitarist Simon Fowler described:
"We were only well known around Birmingham at that stage and when the album came out we became pop stars overnight"
Britpop's second wave?...
Bloc Party, Franz Ferdinand, Kaiser Chiefs, Maximo Park andArctic Monkeys, the bands which followed Britpop were still very much 'British pop' but revamped with razor-sharp guitarwork and disco beats. A new dawn and direction for British guitar bands?
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3
| 6 |
https://www.merriam-webster.com/dictionary/Brit-pop
|
en
|
pop Definition & Meaning
| https://merriam-webster.…[email protected]
| https://merriam-webster.…[email protected]
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The meaning of BRIT-POP is British pop music; specifically : a style of British rock music of the 1990s suggesting a reaction against American grunge and typically featuring catchy melodies and lyrics with distinctively British references —often used before another noun. How to use Brit-pop in a sentence.
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en
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/favicon.svg
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https://www.merriam-webster.com/dictionary/Brit-pop
|
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1641
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dbpedia
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0
| 26 |
https://diffuser.fm/20-years-ago-pulp-crash-the-britpop-party-with-different-class/
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en
|
20 Years Ago: Pulp Crash the Britpop Party With ‘Different Class’
|
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[
"pulp",
"jarvis cocker",
"oasis",
"blur",
"suede",
"anniversaries",
"longform",
"music",
"news"
] | null |
[
"Saby Reyes-Kulkarni"
] |
2015-10-30T11:40:31+00:00
|
Pulp's fifth album put a witty spin on working-class angst and cemented the band's place among Britpop's elite.
|
en
|
Diffuser.fm
|
https://diffuser.fm/20-years-ago-pulp-crash-the-britpop-party-with-different-class/
|
For obvious reasons, it's difficult for Americans to pick up on the more subtle shades of division between England's social classes. If, for example, Pulp bandleader Jarvis Cocker hadn't spelled it out on Different Class, the band's fifth album, who would've ever guessed that Cocker's muse was largely fueled by blue-collar angst?
These days, Cocker looks like he could pass for an erudite college professor, and he has always been able to turn a phrase like one.
The band's twee sound would've further obscured the alienation at the core of the music on Different Class, but the lyrics of album opener "Mis-Shapes" come across with an us-vs-them mentality that the music video drives home even further (and with hilarious flair to boot).
For those to whom provincial northern England might as well be another world, Different Class illuminates that world, but only partially. Listeners get a glimpse into what life there was like for Cocker growing up, but he and the band also give it an exotic sheen. If you've never been there, you can't help but try and imagine the place and picture a young Cocker's struggles as you listen. In a nutshell, the band's hometown of Sheffield is a working-class city. Cocker and his peer group felt out of place among the natives -- who would, according to Cocker, physically attack them for wearing certain clothes. On the other hand, Cocker and company also felt looked down upon by the influx of students from other parts of the country.
It was between this rock and a hard place that Pulp's music incubated for almost 20 years before coalescing most famously on the Different Class single "Common People," Cocker's tale of his doomed crush on a wealthy student who fancied the idea of living among "the common people." Cocker was put-off by her unwitting snobbery, but his attraction had blinded him somewhat. Of course, he channeled his mixed feelings and criticisms into a hit that struck a chord throughout England and beyond.
Listening to Different Class all the way through, it's easy to see why. When Cocker sings "But we live 'round here too" on "Mis-Shapes," he's speaking to the specifics of his adolescent surroundings, but when he sings "You could end up with a smack on the mouth just for standing out" on the same song, he nails a universal truth about the stress and internal dislocation that never truly leaves people who feel like they don't fit in. Meanwhile, in the bigger picture, both the British and American press were fixing their attention on two then-upstart acts, Blur and Oasis, and the messy feud between them.
By that point Blur, Oasis, and Suede had been christened as forerunners of the movement that came to be known as Britpop. Not unlike the way a young Cocker would attend student parties just to snag beer, Pulp crashed the Britpop party in style with Different Class. Fraught with sexual tension to match its uneasy preoccupations with status, the album was also spiked with a sense of humor that set Pulp apart from their peers. Take the "Disco 2000" video, with its clever send-up of the anticipation the weekend brings. Here, Pulp captured the mundane truth about working all week for something to look forward to, as well as the dash of disappointment that comes even when expectations come true. But they also made it sound fun and upbeat.
With Different Class, Pulp presented snapshots of everyday life that one almost can't help but listen to with a certain fondness. Those who embraced the album when it came out likely feel a bit wistful too. But don't worry, Cocker's winking persona simply won't allow you to get gloomy on your trip down memory lane. On Different Class, he and the band kept the mood light even as they railed against the social order. In so doing, they left behind a group of songs that, 20 years later, retain their charm as much as they speak to the era they helped define.
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| 24 |
https://pitchfork.com/thepitch/1476-the-best-britpop-albums-that-arent-british/
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en
|
The Best Britpop Albums… That Aren’t British
|
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[
"list"
] | null |
[
"Stuart Berman",
"Alphonse Pierre",
"Nina Corcoran",
"Jeremy D. Larson",
"Jazz Monroe",
"Matthew Strauss",
"Eric Torres",
"Condé Nast"
] |
2017-03-30T10:50:00-04:00
|
From Sloan to Superdrag, these bands provided fans in their homelands the melody-making of Britpop at more affordable domestic prices.
|
en
|
https://pitchfork.com/verso/static/pitchfork/assets/favicon.ico
|
Pitchfork
|
https://pitchfork.com/thepitch/1476-the-best-britpop-albums-that-arent-british/
|
In the UK, Britpop was no mere genre—it was a pop culture phenomenon that bred a new generation of rock stars, set box office records, and yielded Downing Street invites for its key progenitors. But in North America, it was strictly a subculture. Even after “Wonderwall” turned Oasis into Rolling Stone’s most reliable supplier of outrageous pull-quotes, stateside Anglophiles remained a secret society. They congregated at niche dance nights, harangued their local newsstand to see if they had received last week’s copy of the NME, and sat in near-empty movie theaters with 20 other enthusiasts the day Trainspotting opened.
Post-Oasis boom, Britpop came to be associated with lad mags and Union Jack-waving nationalism in the UK, but across the pond, it was still the province of uncommon people. These were the kids who rejected the mosh-pit machismo of post-grunge American alt-rock, perhaps choosing hedonism over miserablism. But the funny thing about these Anglophile enclaves is the way instinctively they went bullish on anything British, erasing the aesthetic and philosophical divisions that existed among UK scenes. At long-running weekly parties like Tiswas at Don Hill’s in New York and Blow Up at Toronto’s El Mocambo, you’d find suit-sporting mods rubbing shoulders with veritable Richey Manic mannequins, or lager-lugging Liams in Man U jerseys dancing to Blur’s “Girls and Boys” alongside Brett Anderson-like androgynes making their first steps toward coming out.
And very occasionally, amid all the Brit hits, you’d hear a band from the colonies or the commonwealth—groups that shared their overseas peers’ penchant for anthemic choons and outsized swagger. They may not have dominated the tabloids in their home countries as Oasis and Blur did in the UK, but they did achieve some degree of underground renown, or enjoyed a cup of tea on a major label during the dying days of the alt-rock goldrush. Between the $40 import CDs and $15 copies of Select, being a Britpop enthusiast outside of the UK in the mid-’90s could be an expensive proposition. But these bands provided fans in their homelands all the melody-making at more affordable domestic prices. With the Brits now ranked and filed elsewhere on Pitchfork, let’s have a look at seven Britpop albums from the rest of the world.
Chainsaw Kittens, Pop Heiress (1994)
Chainsaw Kittens would surely hold the distinction of being Norman, Oklahoma’s oddest band if only they didn’t share a zip code with fellow freaks the Flaming Lips. But years before Wayne Coyne assumed the role of flamboyant face-painted guru, Kittens frontman Tyson Meade was taunting Midwestern college crowds with his cross-dressing performances, multi-octave voice, and lascivious lyrics that skewered religion and celebrated his queerness. With its potent cocktail of glam camp, fuzz-punk overdrive, and stadium-sized hooks, Pop Heiress should’ve turned the Kittens into the American Suede. But seeing as America at the time didn’t have much use for the actual Suede, the Kittens would have to settle for getting paid in Billy Corgan name-drops. (Listen on Spotify, Apple Music, or Tidal)
You Am I, Hi Fi Way (1995)
You Am I’s 1993 debut, Sound As Ever, might have fit better on a a Best ’90s American Indie Rock That Isn’t Actually American list, with the Australian band’s formative fuzzed-out sound pushed further into the red by producer Lee Ranaldo. But on the follow-up, Ranaldo helped You Am I realize their true calling as a post-grunge Kinks. Singer-guitarist Tim Rogers pulls from a seemingly bottomless well of hip-swiveling riffs (“Ain’t Gone and Open”), wry character studies (“Handwasher”), sunny-afternoon strummers (“Purple Sneakers”), and enough harmony-rich hooks to wholly justify swiping the title of the record’s jangly standout from the Everly Brothers (“Cathy’s Clown”). Alas, Hi Fi Way did little to change the band’s stateside fortunes, but down under, the album is considered the Morning Glory-sized classic that established the band as a national rock institution—their very own Au’asis, as it were. (Listen on Spotify, Apple Music, or Tidal)
Sloan, One Chord to Another (1996)
Sloan are essentially You Am I’s Canadian cousins. Both bands started as noisy rock acts before firmly embracing more timeless British Invasion influences, and both would enjoy considerable mainstream success in their home countries while resigning themselves to cult status elsewhere. Following the bubble-grunge of Smeared (1992) and the stripped-down indie pop of Twice Removed (1994), One Chord to Another marked the moment where Sloan started to wield their power-pop prowess without obfuscation. And it was here that the Beatles became as much a human-resources model as a musical one. Where the band’s four members had always rotated turns at the mic, One Chord threw their distinct personalities into stark relief, showcasing Patrick Pentland’s McCartney-esque swings between raw rockers (“The Good In Everyone”) and brassy serenades (“Everything You’ve Done Wrong”), Chris Murphy’s wry wordplay à la Lennon (“Autobiography,” “G Turns to D”), and Jay Ferguson’s gentle George respites (“Junior Panthers,” “The Lines You Amend”). But in Sloan’s case, their Ringo—drummer Andrew Scott—is actually their resident Syd Barrett, answering his mates’ radio-ready missives with warped, piano-wobbled musings (“A Side Wins,” “400 Metres”). (Listen on Spotify, Apple Music, or Tidal)
Lilys, Better Can’t Make Your Life Better (1996)
The Lilys became a different band with each album, thanks to the aesthetic whims of madcap leader Kurt Heasley and a revolving-door personnel policy that rivals the Fall’s. After shaking off their early ’90s shoegaze guise, the Lilys delivered a major-label debut that’s full of Kinks—in the big-K and little-k senses. Better Can’t Make Your Life Better is classic Brit-rock contorted: while “Shovel Into Spade Kit” revs up on a snarling riff you’d swear was emanating from an old Pye Records 45, Heasley spends the rest of the circuitous song smashing up the vinyl and gluing the pieces back together into curious new combinations. But the complicated approach could yield simple pleasures: Thanks to a plum placement in a Levi’s ad, the delirious, cowbell-clanging “Nanny in Manhattan” became the rare mid-’90s American rock import to jostle for chart space in the UK Top 20. (Listen on YouTube)
Superdrag, Regretfully Yours (1996)
At a time when MTV was starting to clog up with mewling third-generation grunge and ersatz industrial, Knoxville, Tennessee's finest tunesmiths planted a flag for classic ’60s craftsmanship with “Sucked Out.” The song waged war on the sorry state of ‘90s alt-rock radio from within, with a shot of shout-it-out, Revolver-spun jangle pop that went straight for the jugular, thanks to an instantly iconic chorus where frontman John Davis sounds like he’s on the verge of losing his larynx. And there was a whole lot more where that came from, be it the muscular melancholy of “What If You Don’t Fly” or the adrenalized surge of “N.A. Kicker”—songs that should’ve elevated Regretfully Yours to a ’90s generational touchstone rather than just a fondly remembered Buzz Bin blip. (Listen on Spotify, Apple Music, or Tidal)
The Brian Jonestown Massacre, Take It From the Man (1996)
Take It From the Man was one of three double albums Anton Newcombe and co. released in 1996. But compared to the Spacemen-3-on-a-Maharishi-retreat vibe of *Their Satanic Majesties Second Request *or the after-hours psych-folk of Thank God for Mental Illness, this set was distinguished by a brash, insurrectionary intent to beat the Brits at their own game—right down to slapping a Union Jack on the cover as a capture-the-flag taunt. If the original British Invasion rendered a musical movement in militaristic terms, Take It From the Man represented a counter-strike, answering Britpop’s increasing bloat with the leanest, meanest, most authentically snotty garage-mod rave-ups this side of Spinal Tap’s “Gimme Some Money” (in the best way possible). But for all its ’60s signifiers, Take It From the Man so thoroughly embodied an eternal anti-establishment ideal that its centerpiece song (“Straight Up and Down”) also made perfect sense as the opening theme to a TV show about 1920s gangsters. (Listen on Spotify, Apple Music, or Tidal)
The Dandy Warhols, ...The Dandy Warhols Come Down (1997)
The Brian Jonestown Massacre’s West Coast friends-cum-rivals shared their love of ’60s psychedelic pop and ’80s stoner-drone—but they were far more determined to join Britpop’s big guns on the cover of the NME. The Portland band shamelessly exhibited the sort of boho glamour and craven ambition that were rare among American indie rock bands at the time, and with their major label debut, they made significant strides toward fulfilling all the rock-star fantasies their Capitol promo budget could buy. But while Come Down is best known for spawning the cheeky heroin-chic critique “Not If You Were the Last Junkie on Earth,” it’s the tough glam strut of “Boys Better” and the strobe-lit rush of “Every Day Should Be a Holiday” that come closest to conjuring the decadent allure and communal ecstasy of the best Britpop. (Listen on Spotify, Apple Music, or Tidal)
|
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https://www.scaruffi.com/history/cpt511.html
|
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|
The History of Rock Music
|
[] |
[] |
[] |
[
"History Rock Music"
] | null |
[] | null |
History of Rock Music - The Nineties
| null |
(These are excerpts from my book "A History of Rock and Dance Music")
Brit-pop 1990-94
TM, r, Copyright c 2005 Piero Scaruffi All rights reserved.
As was often the case in rock music, the most publicized phenomenon was also the least artistically interesting. "Brit-pop" became a derogatory term, one associated with ephemeral and dubious acts that speculated on facile melodies and trivial arrangements. If the British Invasion of the 1960s had at least revitalized the USA scene, the "Brit-pop" invasion of the 1990s... was hardly an invasion at all. The Brit-pop bands were all terribly similar and, mostly, tedious. In the end, only a few of them managed to have one or two world-wide hits, and most of them added very little to the history of rock music (other than yet another proof of the aberrations of its industry).
In 1990 Brit-pop had not materialized yet as a "fad", but the seeds were already being planted by bands such as Lightning Seeds, with their retro' classic Cloudcuckooland (? 1989 - feb 1990), and La's, with La's (jul 1987/feb 1990 - oct 1990), specializing in sculpting memorable and unassuming melodies. Teenage Fanclub produced one of the best imitations of Big Star with Bandwagonesque (apr/may 1991 - nov 1991).
Heavenly (2) inherited the Primitives' passion for melodious simplicity. Fronted by former Talulah Gosh's singer Amelia Fletcher, they resurrected the age of Petula Clark, the girl-groups and bubblegum music on Heavenly Vs Satan (? 1990 - jan 1991). Their romantic and naive approach to the pop tune evolved with Le Jardin De Heavenly (feb 1992 - jun 1992) and Decline And Fall (apr/jun 1994 - sep 1994) into a new form of revisionist art, one that transformed Britain's perennial Sixties revival into an international language.
Pulp, fronted by Jarvis Cocker's out-of-fashion dandy style, were the quintessence of glam, retro` and kitsch on albums such as the erotic concept His 'N' Hers (jul 1992/feb 1994 - apr 1994) and singles such as My Legendary Girlfriend (1991), Babies (1992) and Common People (1995).
Scotland's Eugenius, the new project by former Vaselines' guitarist/singer Eugene Kelly, with Oomalama (? 1991/? 1992 - sep 1992), and Ireland's Frank And Walters, with Trains Boats And Planes (? 1991 - oct 1992), also predated the 1994 explosion.
The massive Brit-pop phenomenon began in earnest with the bands destined to rule the world (according to the British press of the time): the Boo Radleys (1), who went "retro" with Giant Steps (feb/mar 1993 - aug 1993), Blur, who attained stardom with Parklife (nov 1993/jan 1994 - apr 1994), and Oasis, the band (or the "bluff") that best personified the fad, from the exuberant Definitely Maybe (dec 1993/apr 1994 - aug 1994) to the multi-million seller Morning Glory (mar/jun 1995 - oct 1995).
The most stunning feature of these bands was their absolute lack of imagination. They continued a British tradition, dating from at least the Beatles, of pop musicians who had nothing to say but said it in a sophisticated manner.
Then it became a race to produce ever more predictable music. Each "next big thing" hailed by the British press was merely a copy of a copy of a copy of something that was not particularly exciting even the first time around.
If nothing else, Suede (1), featuring guitarist Bernard Butler and vocalist Brett Anderson, offered an original take on glam-pop on Suede (nov 1992/jan 1993 - mar 1993).
Former Microdisney's guitarist Sean O'Hagan proved his stature as a Brian Wilson-style arranger on the second and third albums by the High Llamas (1), Gideon Gaye (late 1993/early 1994 - jun 1994) and especially on the elaborate and monumental Hawaii (? 1995 - mar 1996).
Supergrass sounded like the heirs to the Buzzcocks' punk-pop, at least on I Should Coco (feb/aug 1994 - may 1995).
One "next big thing" led to another "next big thing", and soon England was embroiled in a revival of the "mod" culture of the 1960s (read: the Who and, more recently, the Jam). Pioneered by Ocean Color Scene's Moseley Shoals (? 1994/? 1995 - apr 1996), the neo-mod school peaked with the Wildhearts, the most energetic and blasphemous of the pack, notably their album Earth Vs The Wildhearts (? 1993 - aug 1993).
Inspired by the new wave of the 1970s, bands such as Elastica, fronted by Justine Frischmann and harking back to Blondie's and the Cars' disco-punk sound of the 1970s on Elastica (aug 1993/dec 1994 - mar 1995), and Sleeper, also relying on a female voice (Louise Wener) on Smart (? 1994 - feb 1995), offered a less trivial kind of commercial rock.
Retro futurism, 1991
TM, r, Copyright c 2005 Piero Scaruffi All rights reserved.
Brit-pop was just the tip of the iceberg. British rock was being swept by a tidal wave of melodic innovation. One facet of it consisted in the transposition of synth-pop and new-wave forms into the body of kitsch music. The theme of bridging nostalgia and futurism harked back to the decadent rockers of the 1970s (and, above all, Brian Eno). The new generation disposed with the decadent poses, and retained only the aesthetic.
Stereolab (12) were not the first and were not the only ones, but somehow they came to represent a nostalgic take on Sixties pop music that employed electronic rhythms and arrangements. Built around the collation of keyboardist Tim Gane (ex-McCarthy) and French vocalist Laetitia Sadier, i.e. the juxtaposition of hypnotic, acid instrumental scores and surreal, naive vocals, as refined by their early EPs Super 45 (nov 1990 - may 1991) and Super-Electric (? ? - sep 1991), Stereolab walked a fine line between avantgarde and pop. As they continued to fine-tune the idea on Peng (apr 1992 - may 1992), echoing the trance of the Velvet Underground, Neu and Suicide, while increasing the doses of electronic sounds, Sadier's voice became a sound and an instrument, contributing more than catchy refrains to the allure of the mini-album Space Age Bachelor Pad Music (? 1992 - jan 1993), the aesthetic manifesto of their chamber kitsch. Stereolab probably reached their zenith with the singles of John Cage Bubblegum (1993) and Jenny Ondioline (1993), that inspired the stylistic tour de force of Transient Random Noise Bursts With Announcements (may 1993 - sep 1993). Stereolab had coined a new musical language, as austere as classical music and as light as easy-listening. New keyboardist Katharine Gifford contributed to the elegant and smooth sound of Mars Audiac Quintet (spr 1994 - aug 1994), their most accomplished fusion of nostalgia and futurism, although not as innovative as the previous album. Emperor Tomato Ketchup (? 1995 - mar 1996) was even more impersonal, pure sound for the sake of sound, pure abstraction of kitsch music. Stereolab injected Soft Machine's progressive-rock, Terry Riley's minimalism, Neu's robotik rhythm and Pink Floyd's atmospheric psychedelia into the fragile melodic skeleton of British pop music.
"Retro futurism" was pioneered also by Saint Etienne (2). Bob Stanley and Pete Wiggs bridged Depeche Mode's synth-pop, the Sixties pop revival, sensual disco-like vocals (Sarah Cracknell) and almost neo-classical arrangements on the sophisticated production exploits of Foxbase Alpha (? 1990/? 1991 - sep 1991) and So Tough (sum/fall 1992 - feb 1993). They were unique in crafting a celestial, effervescent and ghostly fusion of jazz, funk, lounge and house music. Tiger Bay (sum/fall 1993 - feb 1994) achieved pure nirvana, pure ambience and pure style. At their best, it felt as if a Broadway star of the 1950s was backed by Giorgio Moroder on electronic keyboards and by an orchestra conducted by Ennio Morricone.
State Of Grace (1) matched Saint Etienne's achievements on Jamboreebop (? ? - may 1995).
Space devised a form of kitsch that basically bridged Brit-pop and "Madchester" on Spiders (jan 1995/? 1996 - sep 1996).
But it was in Japan that the genre found the most fertile terrain. Flipper's Guitar established the Japanese pop movement of shibuya-kei with albums such as Camera Talk (? ? - jun 1990), matched by the Fishmans' EP Corduroy's Mood (? ? - nov 1991).
Pizzicato Five (1), who had turned supermarket muzak into a sub-genre of synth-pop with Couples (apr 1987 - jun 1987), became one of the leading retro bands when they enrolled eccentric vocalist Maki Nomiya, the ideal alter ego of electronic keyboardist Yasuharu Konishi. The single Lover's Rock (1990), possibly their masterpiece, and the album This Year's Girl (? ? - sep 1991) celebrated their passion for icons of the Sixties (James Bond soundtracks, hare-krishna chanting, novelty numbers, silly dance crazes), whereas later collections such as Bossa Nova 2001 (? ? - jun 1993) and Happy End Of The World (? ? - jun 1997) experimented with a format closer to orchestral disco-music.
Art-pop, 1993
TM, r, Copyright c 2005 Piero Scaruffi All rights reserved.
Despite all the trivial music cooked up by the assembly chains of Brit-pop, some British bands experimented with different ideas of what a song is supposed to be.
The Tindersticks (1) deployed elegant quasi-orchestral arrangements, that relied mostly on the delicate polyphony of guitar, keyboards and violin, on Tindersticks (may 1993 - oct 1993). Its songs were the ideal soundtrack for brothels packed with philosophers. Stuart Staples' voice (a Chris Isaak soundalike) was lost in the labyrinth of his own visions, haunted by the giant shadows of Tom Waits, Nick Cave and Leonard Cohen. But the subtlety of that work drained away as the band (a "big" band) opted for orchestral pop and lounge music on Tinderstick (may/jul 1994 - apr 1995) and Curtains (jul/oct 1996 - jun 1997).
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A beginner’s guide to Britpop in five essential albums
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"Niall Doherty"
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2023-07-20T09:48:21+00:00
|
There are some hurdles to overcome when putting together a Britpop playlist, the main one being that Britpop bands hate being called Britpop bands and will probably get the right hump that they’
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en
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louder
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https://www.loudersound.com/features/a-beginners-guide-to-britpop
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There are some hurdles to overcome when putting together a Britpop playlist, the main one being that Britpop bands hate being called Britpop bands and will probably get the right hump that they’ve been put in a list with other Britpop bands, even a list appearing on such an esteemed and hallowed site such as this. Well, with the greatest respect Damon, Jarvis, Justine, Noel, Liam, Louise and Alan – sod off, you make the music, not the rules. I’m also not sure if there was an Alan in Britpop, it just seemed like the right name to end it on.
Then there’s the issue of, what is Britpop exactly? Who is Britpop? If it’s referring to the kaleidoscopic explosion of British music and culture in the mid-90s, then that would also take in the exhilarating punk-rave of The Prodigy and the euphoric uplift of Radiohead’s art-rock brooding – are The Spice Girls Britpop? No, they are not, and neither are the Prodge or the Head, as they should never be known.
Here, Britpop is referring to all those groups – and bloody hell, there was a lot of them – who emerged in the early 90s making 60s-tinged, melodic guitar-pop that could’ve only been made at that time, music born out of the drab 80s but made with the spirit of sunny optimism that spread across early 90s Britain. Stick on your Ben Sherman shirt and perfect that monkey walk, here’s five essential records to begin your journey into Britpop, with a playlist at the end.
Suede – Suede (1993)
It had not been a great start to the decade for British guitar music. The last exciting boom had been the Madchester/baggy explosion of the late 80s but that scene’s main players were in various states of disrepair – Happy Mondays derailed by drug issues, The Stone Roses beginning the long and winding road towards their second album. Into the vacuum came shoegazing, a wonderful genre if you want to talk about guitar pedals and sonic dynamics but not much to get the heart racing beyond that. Instead, it was rock bands from the US who were dominating - grunge had become a worldwide phenomenon - and it was into this setting that Suede came swaggering and initiated a hostile takeover. Theirs was music that celebrated Britishness at a time when no-one celebrated Britishness. Led by the charismatic, chiselled Brett Anderson, the band's debut captured the quiet, unsettling absurdity of mundane British life with a glam-rock showiness and a rattling, punky edginess. Combining the rock’n’roll recklessness of their 70s heroes – Bowie and Bolan chief amongst them – with the erudite observations and pop melodicism of The Smiths, Suede birthed Britpop. As if proving the point that everyone was waiting for something to happen, it went straight to top of the album charts. The spark had been lit.
Blur – Modern Life Is Rubbish (1993)
At the same time that Suede were making waves, a similar sense of connection to lost British pop was stirring in Colchester quartet Blur. Their 1991 debut, Leisure, was an indie-dance record whose baggy grooves seemed to be marching to the rhythm of the Madchester bands. But a disastrous US tour in 1992 shifted something in the mind of chief songwriter Damon Albarn and he came home determined to start making music that paid homage to classic British greats – revealingly, Albarn said that listening to The Kinks’ classic Waterloo Sunset was his only happy memory from the US jaunt.
It was an Anglocentric redirection that would come to define Blur, Albarn emerging as one of the sharpest songwriters of his generation. Parklife may (just) be a better album and contain bigger hits, but it never would’ve happened without Modern Life Is Rubbish. Their first collaboration with Smiths producer Stephen Street, it had all the hallmarks of what would become classic Blur: big singalong choruses, indelible guitar lines, a tug-of-war between melancholy and yearning and a rhythm section that could both keep it restrained and cut loose when they needed to. Lyrically, Albarn had set off on an exploration into the nooks, crannies and cul-de-sacs of Britain that is still going on three decades later. It’s no wonder that their recent triumphant live shows were filled with so many songs from Modern Life Is Rubbish, both its anthems and its album tracks. This is where the real Blur were born. The fledgling Britpop movement already had two classics to its name.
Oasis – Definitely Maybe (1994)
As Britpop blew up big and record shops sought to take advantage, Oasis’ manager Marcus Russell issued a strict edict to the band’s label Creation that they would not be part of any marketing campaigns bringing groups together under the Britpop banner. They were a rock’n’roll group, went the order, not a Britpop band. But whilst Russell was cleverly making sure Oasis weren’t tied in with a scene that would inevitably come to pass, the truth is that Oasis were both – more than that, they were the Britpop band who overshadowed all the rest. No other album sums up Britpop’s ambush of the mainstream the way that Definitely Maybe does. Their music melded a Beatles-y tunefulness with the snarl of the Sex Pistols and the message at the core of these songs was irrepressible – Rock’n’Roll Star, Live Forever, Slide Away, Cigarettes & Alcohol, Supersonic are all, at their core, songs about striving, breaking out and making it to somewhere better. The arrival of the Gallaghers signalled a sea change from the effete intellectualness of Brett Anderson and Damon Albarn, their barbed attitude giving way to Britpop as a vehicle for laddishness. For better or worse, Britpop was now intertwined with football and Loaded and lager, a bit of a sausagefest all told. Aren’t there any women round here? Oh yes, enter Elastica…
Elastica – Elastica (1995)
Fed up of her role in Suede, the band she formed with ex-boyfriend Brett Anderson, one that she described as “the token girl playing guitar at the back”, Justine Frischmann upped sticks and formed her own group in Elastica. It was immediately obvious she was born to be up front. Frischmann was a compelling singer/guitarist and a brilliant songwriter too: Elastica’s songs exhilaratingly captured the Britpop moment – the hedonism, the hangovers, the hangers-on and all the male posturing – with a louche insouciance, post-punk delivered with a withering roll of the eyes. Their self-titled debut is made up of songs that either sound like they’re racing to the end (Waking Up) or waiting for everyone else to catch up (Connection). It’s Britpop’s most pure lightning-in-a-bottle album. They couldn’t repeat the trick, though, taking five years to make a follow-up record and splitting up soon after. It doesn’t matter: Elastica’s legacy was already set.
Pulp – Different Class (1995)
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https://blog.roughtrade.com/gb/rough-trade-essential-britpop/
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Rough Trade Essential: Britpop
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[
"Georgia"
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2023-03-03T14:10:09+00:00
|
Britpop. Love it or hate it, it's back with a bang. Or maybe it never went away. Explore the scene's essential artists, albums and moments.
|
Rough Trade Blog
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https://blog.roughtrade.com/gb/rough-trade-essential-britpop/
|
"If punk was about getting rid of hippies, then I’m getting rid of grunge!"
Damon Albarn
Regional accents, a new upbeat form of rock, records which sold in their millions. The cultural movement of Britpop (in its key timespan of 1993–1997), is responsible for some of music's most triumphant scenes, fondly remembered by many who grew up alongside its rise.
Britpop's pop culture dominance came at a turning point for 90s music, a reaction to the emotional, riff heavy sound of 'grunge', Britpop was equally as guitar driven, but a more lighthearted aesthetic, relatable songwriting and infectious nostalgia. The genre's longevity and impact continues to be felt, as this summer, two of the most popular Britpop bands of the 1990s are set to reunite after more than a decade for massive live shows, Blur performing two sold-out concerts at the 90,000 capacity Wembley Stadium in July (+ a brand new album), and Pulp headlining outdoor shows and festivals across the country from May.
Whilst the feel good nature of the genre continues to resonate, our reflection of the Britpop days is not all sunshine and roses, with today's musical landscape very much evolved from spotlighting 'identifiably English' music from 'the boys in the band'.
"Britpop’s dead – it’s a rotten corpse lying on the floor,” she says. “I think it’s good that it has gone and that everything’s changing. It’s really interesting to see what’s going to happen next. That’s why music’s exciting."
- Lousie Weener from Sleeper for Say It With Garage Flowers
Alongside examining the defining artists of the era, we celebrate the legacy of Britpop by also considering the artists who were influenced by acts like Oasis and Blur but had something different to say, perhaps fitting better within the post-Britpop category, a step away from the scene's romanticision of Britishness.
From brotherly feuds, rival bands, number one bestsellers, the first 'post-Britpop' album and being a female musician in the Britpop days. Here is our list of Britpop's Rough Trade Essential artists and it's definitive moments.
Oasis - Definitely, Maybe (1994)
One of the fastest-selling debut albums in the UK at the time, Oasis’ debut album went straight to No 1, selling 100,000 copies in 4 days. Speaking to the 'everyday man' with a punk-like quality and captivating charm, Liam and Noel Gallagher and the gang managed to set the blueprint for the buzz and confidence embedded in the Britpop genre.
Oasis -What's The Story, Morning Glory (1995)
Equally as essential as their debut is Oasis' second album, coming in just as hot as its predecessor. On its first day in the shops What’s The Story, Morning Glory was selling at a rate of 2 copies a minute through HMV’s London stores. Despite the album's success its recording sessions and stories of its creation are very much associated with the Gallagher brother's early bust-up which would eventually lead them to implode in 2009.
Elastica - S/T (1995)
Although the Britpop scene of the 90's was largely considered a boys club, there were a number of female-fronted bands which should be remembered as key players defining the sound in their own unique way. Elastica was the brainchild of frontwoman and primary songwriter, Justine Frischman, alongside Justin Welch after originally founding Suede with Brett Anderson.
Looking to distinguish themselves from the existing Britpop titans Elastica honed a similar pop-punk sound but with more edge, more sharp-witted than the flowery, glam lyricism of Suede. In some ways musically andogynous Elastica was driven by women who could play, with Frischmann and Donna Matthews on guitar and Annie Holland playing the bass. A recipe for success, Elastica rocketed to the top of the charts in '95, breaking the records for the fastest-selling debut album in the UK.
M.I.A (early 2000's, post Britpop)
Despite the instant success Frischmann's journey with Elastica was shortlived and in 2001 the band announced their breakup, stating that the band had run its course: “Believe it or not, Elastica have been together for almost 10 years which is probably as long as any band should be together." (Frischmann) The former frontwoman made way for a new voice in British pop, spending her next few years developing artist M.I.A. her friend and flatmate, co-wrote and produced M.I.A.'s demos for her first album, Arular. With an affinity to punk and the rough edges of Elastica, M.I.A was a very different version of British pop, but in many ways very much offspring of the scene.
Blur - Parklife (1994)
Damon Albarn, Graham Coxon, Alex James and Dave Rowntree. The four aspiring rockers met in Goldsmith university circles and never looked back. Heavily influenced by The Charlatans and The Stone Roses, their debut album Leisure (1991) is viewed by many as the beginnings of Britpop with its catchy hooks and pop fuzz. Three years later in '94 Blur made a huge commercial jump with Parklife, a time capsule of an album that's as "English as a rainy Sunday in front of the gas fire." After entering a chart battle with rival band Oasis in 1995, where "the battle of Britpop" began, and the two bands began to fight it out for chart posistions, perpetuating fundamental and perhaps contrived differences between their paths to sucesss, Blur the Southern “Art school wankers” and Oasis, the working class heroes.
The La's - S/T (1990, pre-Britpop)
As previously mentioned The La's can be credited as early influencers of the Britpop sound. Although a short lived career (one studio release in 1990) the group created a real classic, jangly, well-crafted songs. There most famed hit There She Goes would not sound out of place in a Britpop compilation, yet also fit right in with the then fading Madchester scene, as Lee Mavers laid out a model for perfect melodies with timeless songwriting.
As Noel Gallagher once declared: "Oasis want to finish what The La's started."
Supergrass - I Should Coco (1995)
"We are young / we are free / Keep our teeth / nice and clean"
The perfect snapshot of adolescence, I Should Coco was Supergrass' most influential Britpop statement, representing the youth of today with the same exuberance as Oasis or Blur. The record scored critical acclaim across the board, topping the charts and bagging a Mercury Nomination. A Britpop successs if there ever was one.
The Stone Roses - The Stone Roses (1989, pre-Britpop)
Another band that fit into the story of Britpop's evolution via Manchester, The Stone Roses more firmly sit in the Madchester scene, a psychedelic dance extravaganza that ushered in the era of baggy trousers, Kangols, and the Hacienda. But with guitar driven music, unique take on 60s British pop and lyrics that challenged the status quo, it got the ball rolling for the slew of bands that would define the 90s Britpop era.
Suede - S/T (1993)
Very much part of the big four which defined the brand, (Oasis, Blur and Pulp) Suede were creative and fluid in their musical approach, refashioning the glam aesthetic of 70's Bowie. With much of their lyrics touching on the reality of life in London with its highs and its lows Suede came out as strong forerunners in the Britpop pack. Although they were later keen to not lean into the label, their debut presented the perfect pop songs, with an androgyny, attitude and irony that acted as a catalyst for the Britpop movement.
Lush (1987 onwards)
Britpop's story shouldn't be mapped out without mentioning Lush. Labelled both shoegaze and Britpop, the band formed and were active in the key Britpop years (1987-1996) Lush’s sound contained anti-misogynistic themes, their most famous song, Ladykillers speculated to be a feminist anthem. With two female guitarits/vocalists Lush stood apart from the British bands of the time, the original line-up consisted of Miki Berenyi (vocals, guitar), Emma Anderson (vocals, guitar), Steve Rippon (bass guitar) and the late Chris Acland (drums).
With a brilliant singer in Miki Berenyi, Lush's success was largely tied together under her distinctive voice. Miki has gone on to provide an eye opening and alternative account of the glory days of Britpop, Fingers Crossed, which we have celebrated and poured over as our Book of the Year 2022.
The Verve- Urban Hymns (1997,post-Britpop)
Urban Hymns set the bar extremely high for British music, with rousing rock dynamics a Y2K movie moment for the ages, based around the at-times tender song writing of Richard Ashcroft. It's hard to define their sound as their psych style anthems also lean into the shoegaze textures, yet their masterful existential pop harks back to the Britpop heyday.
Pulp - Different Class (1995)
"I wanna live like common people / I wanna do whatever common people do"
With their classic Britpop anthems, Pulp lent into the Britpop essence of depicting identity, constructing the idea of us and them. Grandly theatrical, synth-spiked, kitchen-drama pop with new wave and disco flourishes, Different Class is a defining record of the period, its uplifting swagger a template for a nation about to be swept up by Euro 96.
Radiohead - The Bends (1995)
Whether this can be labelled Britpop is hotly contested, by both the band themselves and their fans. Compassionate and anthemic, Radiohead's second album falls into a few of Britpop's sonic traits. Yet the band's melancholic beauty was very much bolstered by more experimental, progressive and explosive stylisms, making it inaccurate to pidgeonhole to one genre. Either way, The Bends is one of the most essential albums of the 1990s, an early marker for one of the most enduring British bands of today.
“The whole Britpop thing made me fucking angry. I hated it. It was backwards-looking, and I didn’t want any part of it.”
- Thom Yorke, Rolling Stone, 2017
Other mentions...
Often overlooked but also responsible for some of Britpop's biggest hits Sleeper are a respected band of the time, fronted by Louise Weener, an excellent and charismatic songwriter whose talent was resented and misrepresented by the misogynistic industry of the era.
Also deserving of recognition is Dubstar, an indie dance duo comprised of Sarah Blackwood and Chris Wilkie whose seminal '90s albums offered something a bit different from their contemporaries but still stood alongside the best records Britpop had to offer.
A Britpop titan, starting out as the frontman for The Jam and developing the band The Style Council up until 1989, Paul Weller's solo works Wild Wood and Stanley Road were huge Britpop hits with bands such as Oasis, Blur, The Charlatans and of course Ocean Colour Scene, mentioning Weller as an influence or directly working with the ModFather himself.
The focused songwriting of Britpop was embraced by The Charlatans, Tim Burgess' sunny yet yearning vocals fitting right in with the Britpop pack, providing snapshots of modern life and its highs and lows. Reinforcing the simple yet effective guitar playing which Britpop was distinguished for, the shortlived career of The Seahorses (formed by former Stone Roses guitarist John Squire) should also be reflected on as a Britpop classic. Liverpool indie rockers Cast (formed by Peter Wilkinson and John Powers formerly of the La's) are another memorable band of the Britpop era, with their ballad Walkaway, the soundtrack to many Liverpool Football Club and England cup exits during the ’90s (Euro 96 anyone?...). Solihull's Ocean Colour Scene were equally propelled to success in the midst of the Britpop craze, as OCS singer and guitarist Simon Fowler described:
"We were only well known around Birmingham at that stage and when the album came out we became pop stars overnight"
Britpop's second wave?...
Bloc Party, Franz Ferdinand, Kaiser Chiefs, Maximo Park andArctic Monkeys, the bands which followed Britpop were still very much 'British pop' but revamped with razor-sharp guitarwork and disco beats. A new dawn and direction for British guitar bands?
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Top 10 Weirdest Music Genres
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You're not gonna find songs from these genres topping the charts anytime soon. Join http://www.WatchMojo.com as we count down the Top 10 Weirdest Music Genres.
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en
|
/2016/img/wm-icon.png
|
WatchMojo
|
https://www.watchmojo.com/articles/top-10-weirdest-music-genres
|
Script written by Michael Wynands
#10: Vaporwave
A lot of these genres are going to be tough to define, and this format is no exception. At it's heart a satire of consumerism, Vaporwave emerged as a genre in the 2010s across various online music communities, beginning with artists such as James Ferraro and Vektroid just to name a few. Start with a foundation of basic pop music and add a heavy dose of 80s and 90s pop culture, then mix samples of smooth jazz and corporate lounge music while using pitch shifting and loops to achieve a distorted sound and you've got yourself some Vaporwave.
#9: lowercase
Today’s popular music is all about dense, catchy, overwhelming beats and compositions- you know, hooks and massive choruses. By contrast, lowercase asks listeners to experience sounds drowned out by the auditory clutter of the world. Lowercase artists digitally amplify natural sounds like anthills and flowers growing, taking a microscope to sounds otherwise imperceptible to the human ear. Others, such as Steve Roden, isolate everyday situational sound, like the handling of paper, or the sound of a quiet library. Minimalist and ambient it may be but lowercase is unlikely to top the Billboard charts anytime soon.
#8: Nintendocore
In the early 2000s, ‘HORSE the band’ jokingly coined the term “Nintendocore” to describe their unique style of music, which combined metal with 8-bit video game inspired synth. The term caught on, leading other video game inspired rock and metal musicians to adopt the term. Nintendocore’s ancestry can be traced to Chiptune, a genre of music spawned in the 1980s that incorporated 8-bit synth from the video game world and EDM like tempos. It’s a formula that is just so crazy that it works, leaving video game fans everywhere looking for the nearest mosh pit.
#7: Splittercore & Extratone
Hardcore techno and gabber were among the first EDM subgenres to push the number of beats per minute in an aggressive direction. But splittercore and extratone make them look tame by comparison. Both splittercore and extratone fall under the larger umbrella genre of speedcore, which is defined as any EDM where the BPM exceeds 300 BPM. Splittercore is speedcore on amphetamines, usually exceeding 600 BPM. It pushes the boundary of recognizable EDM to its very limits... and then extratone demolishes those limits, going beyond 1000 BPM. In fact, the human brain struggles to keep up, and the individual beats sound like a single pulsating drone.
#6: Pirate Metal
Who were the original metalheads you ask? So metal they were metal before metal existed? Pirates! Pirate metal pays homage to the original headbangers of the sea by mixing power metal, thrash metal and speed metal with traditional pirate ballads, chants and the folk sound associated with seafaring. Lyrically, pirate metal is all about buried treasure, rum, kidnapping landlubbers and other pirate pastimes. Pirate metal fans around the world have 80s metal band Running Wild to thank for inventing the genre when they abandoned their Satanic imagery for the pirate life with their third studio album, Under Jolly Roger.
#5: Crunkcore
There seems to be a clear correlation between weird music and genres that end in “core”. In this case, our hybrid genre combines crunk music with screamo and emo. This is usually achieved by pairing vocal styles more commonly used in emo and screamo with electronic beats similar to those found in Southern hip hop. That being said, crunkcore really feels like an odd pastiche of pop culture from 2005 to 2010. Throw everything you can find including hip hop, scene kid fashion, emo, screamo, techno, suburban youth, auto-tune and Hot Topic into the mix and you get the neon monster that is crunkcore.
#4: Avant-Garde
Avant-garde is a term that can be applied to any piece of art which pushes beyond the accepted boundaries of that given art form. In the case of music, it’s difficult to set any specific set of characteristics, but a number of composers from the 20th Century rose to prominence by radically altering the definition of music, and came to be commonly known as avant-garde composers. Among them are Arnold Schoenberg, who worked with serialism, a technique of composition using a series of systematic values, and John Cage, who’s most infamous piece consisted of four minutes and thirty three seconds of sitting in front of his piano in silence.
#3: Catholic Psychedelic Synth Folk
Psychedelic synth and folk music feel like an unlikely pairing to begin with, but add Catholic symbolism to the mix and things get really weird. The 60s and 70s resulted in a lot of experimentation, but this genre stands out from the crowd. Sister Irene O’Connor’s Fire of God’s Love/ Songs to Ignite the Spirit sounds innovative and experimental even today, without considering that it was recorded by an Australian nun living in a monastery in 1976. Musicians Pastor John Rydgren and Emily Bindiger each made significant contributions to the genre with their respectively trippy releases Silhouette Segments and Emily.
#2: Danger Music
This is another genre that is more about an idea than any distinct musical characteristics. It is considered to be a form of avant-garde music, but it pushes the definition of music so far beyond recognition that danger music is also called anti-music. Confused yet? You should be. Danger music is defined by one thing - the theory that some music can be inherently dangerous. Musicians creating danger music prove this hypothesis in various ways, such as playing loud enough to deafen an audience, attacking the audience, or writing “the performer should blind themselves 5 years after performing this piece” in the sheet music. Fun.
Before we unveil our top pick, here are a few honorable mentions.
Baby Metal or “Kawaii Metal”
Chap-Hop
Seapunk
Country Truck Driving Music
#1: Japanoise
Noise music is produced all over the world, but no one does it quite as weird as the musicians of Japan, who have developed a distinct and highly regarded noise music culture, known as Japanoise. While the 1980s and 1990s were certainly the high point of the genre, Japan maintains its position as a mecca of noisemusic. The Japanoise movement encompasses many subgenres of noise music coming out of Japan, from the tabletop electronic noise of MSBR or the Incapacitants, to more punk inspired Japanoise artists like Ruins. Japanoise has also produced arguably one of the most famous and respected noise musicians ever, Merzbow.
Do you agree with our list? What’s the weirdest music you’ve ever had the pleasure or displeasure of listening to? For more unique top 10s published every day, be sure to subscribe to WatchMojo.com.
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| 90 |
https://www.cheatsheet.com/entertainment/dua-lipas-radical-optimism-inspired-1990s-rock.html/
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en
|
How Dua Lipa’s ‘Radical Optimism’ Was Inspired by 1990s Rock
|
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[
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[
"Matthew Trzcinski"
] |
2024-05-11T01:45:07+00:00
|
Dua Lipa compared 'Radical Optimism' to one classic song from the 1990s because they convey similar emotions.
|
en
|
Showbiz Cheat Sheet
|
https://www.cheatsheet.com/entertainment/dua-lipas-radical-optimism-inspired-1990s-rock.html/
|
Classic rock songs from the 1990s definitely had a huge impact on the rap-rock of today but it’s hard to see its influence on Dua Lipa’s Radical Optimism or most of her songs. Regardless, the “New Rules” singer explained how a certain subgenre of 1990s rock had a big impact on her attest record. She said one 1990s song in particular takes her breath away.
Dua Lipa compared ‘Radical Optimism’ to 1 classic song
“Britpop” is one of those musical terms that is ubiquitous in the United Kingdom but lesser known in the United States. “Britpop” is the name of a genre of British rock music that became popular in the 1990s. It was a form of alternative rock with catchy melodies and upbeat lyrics that stood in stark contrast to grunge music. While grunge was inspired by punk rock, Britpop drew more from polished 1960s bands like The Beatles. While Britpop is mostly gone today, it definitely influenced 2000s artists like Coldplay and Snow Patrol.
Britpop doesn’t sound much like Lipa’s signature dance-pop but, in 2022, she told Variety that the genre inspired her. “I wasn’t going into Britpop and being like, I’m making this record that sounds exactly like … Because it doesn’t,” she said. “But it’s a feeling that they portray that when I hear ‘Teardrop’ by Massive Attack and I’m like, ‘How did this song even come to be?’ It feels like it just happened in a moment of real freedom and writing and emotion, and I think that was just the feeling I was trying to convey more than anything.”
Why classic rock songs inspire the ‘Houdini’ singer
Most critics would probably classify “Teardrop” as a trip-hop song rather than a Britpop song but the “Hotter than Hell” star can do as she pleases. For context, trip-hop is a style of electronica inspired by hip-hop instrumentals. In the United States, “Teardrop” is probably most remembered for serving as the theme music for the medical drama House. “Teardrops” stands as Massive Attack’s most famous song by far.
The “Houdini” singer elaborated on why Britpop inspired her. “Well, for me, I think the Britpop element that really came to me was the influences of Oasis and Massive Attack and Portishead and Primal Scream, and the freedom and the energy those records had,” he said. “I love the experimentation behind it. And of course, it’s a pop record. I’m a pop artist, that’s what I do.”
Dua Lipa once reused a famous Britpop sample
Lipa moving in the vague direction of Britpop is surprising but there was one moment where she almost went there in her earlier career. Genius reports her hit song “Love Again” samples the horn melody from Bing Crosby’s “My Woman.” Those horns only became really famous in the 1990s when White Town sampled them in the song “Your Woman.” “Your Woman” isn’t exactly a Britpop song — it’s too electronic and downbeat — but it is an experimental British alternative song from the 1990s. At the very least, Lipa was showing interest in the era of Britpop if not Britpop itself.
Hopefully, Lipa’s fluid approach to genre shows that she will produce a lot of interesting music in the future.
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| 66 |
https://www.musicinnotes.com/2014/01/song-analysis-29-pulp-disco-2000/
|
en
|
Song Analysis #29: Pulp
|
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"Mary Chang"
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2014-01-28T17:00:44+00:00
|
Title: ‘Disco 2000’ Where to find it: ‘Different Class’ (1995, Island) Performed by: Pulp Words by: Jarvis Cocker It seems very strange to me that we now look at Jarvis Cocker not so much as the frontman of legendary Sheffield Britpop band Pulp but as the host of BBC 6music weekend programme Sunday Service. It … Continue reading Song Analysis #29: Pulp – Disco 2000 →
|
en
|
Music in Notes
|
https://www.musicinnotes.com/2014/01/song-analysis-29-pulp-disco-2000/
|
Title: ‘Disco 2000’
Where to find it: ‘Different Class’ (1995, Island)
Performed by: Pulp
Words by: Jarvis Cocker
It seems very strange to me that we now look at Jarvis Cocker not so much as the frontman of legendary Sheffield Britpop band Pulp but as the host of BBC 6music weekend programme Sunday Service. It should probably come as no surprise based on the wittiness of his lyrics in those days back when Pulp were chart kings that he’s an excellent presenter and you can’t help getting sucked into his show. (I’m very to sorry to report this, but it looks like he’s taking a break from the 6music controls until 2015, so if you want some Northern flavour, you’ll just have to be content with Guy Garvey‘s Finest Hour in the meantime.)
Right. So why did I choose this song? It’s been in the back of my mind for a long time. There used to be this wonderful Britpop / indie night at the Black Cat in DC called Razzmatazz that my friends and I used to go to. We’d be there for hours and it was one of the few dances I actually enjoyed, because I’d know all the songs. (It also helped that I knew the one of the DJs, so I could request songs ahead of time. He had been so grateful for the bands I’d tipped him off to, such as Golden Silvers.) I always watched the huge response on the floor for Pulp’s ‘Common People’ and ‘Disco 2000’ with some level of amazement. I still have these images of these girls in big skirts and heels going absolutely mental for both songs, which conflicted with what was going on in my mind, “um, isn’t this some serious stuff he’s talking about in the song?” Of course, when you’re out with your drunk friends on a night out, that’s probably not the best time to start any philosophical talk…
Most of the songwriters that I like have one thing in common: they tend not to go for the obvious in either theme or word choice. With Jarvis Cocker, you always knew he was going to give you something left of centre. Back in the ’60s during the psychedelic era, there was all this talk about being individuals. What Pulp wanted was an extension of that, “we don’t want no trouble, we just want the right to be different. That’s all.” They were different. I’m just wondering how many people realised just how different they were, if that makes sense.
First, the words:
Verse 1
Well we were born within 1 hour of each other.
Our mothers said we could be sister and brother.
Your name is Deborah, Deborah.
It never suited ya.
They said that when we grew up,
we’d get married, and never split up.
We never dated, although often I thought of it.
Pre-chorus
Oh Deborah, do you recall?
Your house was very small,
with wood chip on the wall.
When I came around to call,
you didn’t notice me at all.
Chorus
I said, “let’s all meet up in the year 2000.
Won’t it be strange when we’re all fully grown.
Be there 2 o’clock by the fountain down the road.”
I never knew that you’d get married.
I would be living down here on my own
on that damp and lonely Thursday years ago.
Verse 2
You were the first girl at school to get breasts.
Martin said that yours were the best.
The boys all loved you but I was a mess.
I had to watch them trying to get you undressed.
We were friends but that was as far as it went.
I used to walk you home sometimes but it meant,
oh it meant nothing to you,
‘cos you were so popular.
Pre-chorus
Deborah, do you recall?
Your house was very small,
with woodchip on the wall.
When I came around to call,
you didn’t notice me at all.
Chorus
I said, “let’s all meet up in the year 2000.
Won’t it be strange when we’re all fully grown.
Be there 2 o’clock by the fountain down the road.
I never knew that you’d get married.
I would be living down here on my own
on that damp and lonely Thursday years ago.
Bridge
Oh yeah,
oh yeah.
(spoken)
And now it’s all over,
You’ve paid your money and you’ve taken your choice
And I don’t know if we’ll ever meet again
But Deborah, I just wanted you to know
I remember every single thing
Pre-chorus
Oh Deborah, do you recall?
Your house was very small,
with wood chip on the wall.
When I came around to call,
you didn’t notice me at all.
Extended chorus
I said let’s all meet up in the year 2000.
Won’t it be strange when we’re all fully grown.
Be there 2 o’clock by the fountain down the road.
I never knew that you’d get married.
I would be living down here on my own,
on that damp and lonely Thursday years ago.
Outro
Oh, what are you doing Sunday, baby.
Would you like to come and meet me maybe?
You can even bring your baby.
Ohhh ooh ooh. Ooh ooh ooh ooh.
What are you doing Sunday, baby.
Would you like to come and meet me maybe?
You can even bring your baby.
Ooh ooh oh. Ooh ooh ooh ooh. Ooh ooh ooh ooh. Oh.
Now, the analysis:
Cocker has said the lyrics are based on personal experience, with the fountain mentioned being one that exists in Sheffield. I hate the term “friend zone”, but there really is no other way to describe such a situation: we’ve all grown up with people of the opposite sex we’ve found attractive (physically, mentally, or otherwise) and for whatever reason, we never end up with them. There are scores of reasons why this happens. Sometimes we’re scared of losing the friendships that matter and we decide it’s safer to play “what if” for the rest of our lives instead of risking rejection and possibly banishment from our friends’ lives, because they mean too much to us. Sometimes it’s clear the other person doesn’t like us like that and we make the voluntary choice to stay in that person’s life, even if it hurts just being around him or her. In any event, being in the friend zone is not a pleasant thing. It is fraught with the worry of embarrassing yourself, making social gaffes in front of the other person, etc. etc. etc. Not a good place to be in. And all because your silly heart had to get involved!
‘Disco 2000′ is quite deceptive because at the end, it sounds like the protagonist is okay with reuniting with the crush of his young life, even offering up “you can even bring your baby” when they meet in the year 2000. But is he really thinking that? As a woman, I think I’d avoid meeting the wife and/or children of guys I used to like in my school days. Why risk putting yourself in a situation that might stir up feelings inside, no matter how long time has passed? That’s why I’m thinking, why oh why in god’s name would he agree to see her baby? Wouldn’t that just tear him up inside, having to see the product of this woman he loved in secret when they were kids and the guy she just happened to end up with? (I know, maybe the guy she married isn’t so bad at all. But I’m speaking to the protagonist’s emotional investment in this woman, which trumps all.)
From the start, Cocker makes it clear that there was some part of destiny that they had become friends. They were born on the same day, within the same hour. (This bit sounded strange and pushing it to me, but okay. Go on, storyteller Jarvis.) Their mothers knew each other, and people joked that because they were so close, they expected them to get married when they were older. Not so uncommon: I hear stories like this all the time, but more from my parents’ generation than my own, and if the “wood chip” wallpaper properly dates the song, they were kids back in the ’60s and ’70s. Meeting in the year 2000 would mean they’d be in their 40s or 50s by the time they met.
As the song goes on, it becomes clearer that the 21st century equivalent to this song is Taylor Swift’s ‘You Belong With Me’. Sometimes it’s fantastic having a friend of the opposite sex. You can be yourself around him/her. It’s nice to have someone with you who looks out for you and cares about you, and all the while you don’t have to worry all he/she cares about is getting into your pants. You trust each other as friends. The problem comes along when you’ve determined you have feelings for that other person and have sit on the sidelines, while others of your sex go after your friend. You can’t do anything, because you’ve already have indicated you don’t have romantic feelings for your friend. Uncomfortable much?
In both songs, it sounds like it’s not so much what the person singing it could have done but that he/she was invisible to the other person, having so many more prominent, interesting people in her life to occupy her time: “I used to walk you home sometimes / but it meant, oh it meant nothing to you / ‘cos you were so popular.” I can’t really say what is causing the invisibility, as it’s happened so many times in my life with guys, it’s become ridiculous, and I don’t know how to fix it. I don’t know how it happens. Maybe it’s true what they say, nice guys/girls finish last? “I never knew that you’d get married / I would be living down here on my own / on that damp and lonely Thursday years ago”: in 20/20 hindsight, he is kicking himself for not having done anything. Time seems to past so quickly, doesn’t it? Time has escaped him, and he realises the error of his ways: that “damp and lonely Thursday years ago” seemed to be one tiny, inconsequential unit of time while in the moment, but now it’s looming large in his psyche. He made a mistake, he should have done something then, and now he can’t go back. “The boys all loved you but I was a mess”: not sure what made him “a mess” but maybe he was not in a position to do anything? Maybe he was conflicted on how he should act?
Going back to those lines when he’s imploring this woman to come meet him and bring her baby – part of her now matured life – I get very uncomfortable when Jarvis sings, “Oh what are you doing Sunday, baby”. It’s like he’s trying to infantilise her by calling her “baby”, as if that would be the magic pill that would take them back to those “years ago”. And his effort here is now coming across as cocky. He’s trying desperately to make things light but I hear them coming through loud and clear as “I’m sad and lonely”. Even the “oohs” at the end are uncomfortable to me. Why he is so happy? Or maybe he’s doing what Morrissey has done so many times so deftly: made a song that is filled with hurt and pain but disguised it behind a ‘happy’ melody that it’s virtually undetectable, just that Morrissey prefers “lalalas” over “ooh ooh oohs”. (Okay, that just looks weird in print…)
One of those girls in DC in a big skirt and heels dancing blissfully unaware as I mentioned earlier in this analysis, I will never forget what she looked like. The same woman hit me in the face with her elbow and pushed me out of the way the night The Big Pink were in town at the Black Cat, clambering onstage like some kind of lumbering animal to get their set list. I suspect she’s the kind of person I think the meaning of this song will be lost on.
|
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1641
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0
| 1 |
https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
|
en
|
"Disco 2000" speaks beyond its titular year
|
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[
""
] | null |
[
"Benjamin Kassel"
] |
2022-04-02T07:00:00+00:00
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
|
en
|
Unfortified Castle
|
https://www.unfortifiedcastle.com/post/senior-year-soundtrack-disco-2000
|
Pulp’s song — framed around a future that’s become the past — makes me grapple with my understanding of time unlike any other.
Like all media, the perception of pieces of music tends to shift over time. Pieces that were once controversial may now be seen in retrospect as trailblazing; the pop with which we fell in love in our formative years may now seem all too saccharine or out of touch; social anthems only become more poignant as the issues they confront increasingly manifest.
Today’s selection has seen a perceptual shift for none of the above reasons — instead, it’s the temporality baked into the song that makes it all the more curious to investigate.
Back when Pulp released "Disco 2000" as part of their album Different Class, that millennium year was still more than four trips around the sun away. It was late 1995, and frontman Jarvis Cocker and company looked toward the year as a time by which they could get things right; going by the song’s narrative, 2000 was when Cocker and his childhood friend could meet up again, now fully grown and living their own lives. However, I approach the song having been born in 2000 and thus always thinking of that year in the past tense. When I hear "Let’s all meet up in the year 2000," I think of it as a return to blissful innocence, rather than a look ahead to a clearer future.
As different as these two perspectives on the song are, though, a common thread can be found: a desire to get away, to free oneself from the shackles of one’s current place and time. Whether past or present, 2000 is at the very least somewhere different, and that in itself makes the tune appeal to a wide audience.
Musically, "Disco 2000" owes a lot to the genre in its name. Nick Banks’ four-on-the-floor beat and hi-hat use calls right back to the inception of disco with the Trammps and other trailblazers, while the high synth is just string-like enough to further pay tribute to that era. Then there’s the undeniable similarity of the main verse riff to that of "Gloria," made popular by Laura Branigan in 1982. Having said that, there’s no mistaking Pulp’s track for a 70s or 80s romp — the treatment of the drums and the mix of Russell Senior and Mark Webber’s guitars all suggest the burgeoning Britpop scene of the 90s, of which the band, among all its tumult, were key figures. Personally, I’ve always felt like the instrumental bordered on sounding a little cheesy, but maybe that’s just an effect of me having not lived through the 90s and embraced that sound in its heyday.
As much as those aspects of the track interest me, though, it’ll stand out to me more because of Jarvis Cocker’s lyrics. The childhood crush-themed narrative, parlaying early innocence with the later resignation of life taking its course, stands out to me for its realism. There’s something approachable about lyrics of the "very small" house "with wood chip on the wall," and the pining for an old love — even one-sided — when you’re "living down here on [your] own." It probably helps that Cocker is drawing from personal experiences; "Deborah" is based on his early friend Deborah Bone (1963–2014), for whom he sang "Disco 2000" at her 50th birthday party (a little awkward, maybe, given the lyrics? All in good fun regardless).
As I listen to Pulp’s song once more while I wrap up this post, I think I get why "Disco 2000" has so consistently transcended its temporal bounds. The dance-friendly rhythms combined with the nostalgic narrative those beats soften all in all make me feel like the track inhabits a moment of reflection a drink or two in at your local club. You want to get up and move, but your thoughts are plagued by memories of that person you always thought got away. When you do make your way to the floor, you do so either to combat those memories, or to get lost in them (I’d say more the latter here). That’s a sensation not bounded by any year.
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https://faroutmagazine.co.uk/what-was-britpop-exactly/
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en
|
What was Britpop? Explaining the 1990s phenomenon
|
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[
"Lucy Harbron"
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2024-07-08T15:30:00+01:00
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In the 1990s, pride in the country seemed to return at Britpop broke out, bringing back good old fashioned rock and roll with a distinct British twang.
|
/favicon.ico
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Far Out Magazine
|
https://faroutmagazine.co.uk/what-was-britpop-exactly/
|
What was Britpop exactly?
The development of music history, with one era moving into the next, is a slow and steady thing. There is never a clear changing of the guards where suddenly all the punks salute and walk off, leaving the New Romantics or the pop stars to the job. Instead, it’s an ongoing and ever-evolving process as music, style, and subcultures are inseparably linked to society and politics. So by 1994, when the opening chords of Oasis’ ‘Rock ‘N’ Roll Star’ started up and Britpop took hold, it was just as hard to define back then as it is today.
To some people, the movement started right there and then. Some 30 years ago, when Oasis released their debut album, Definitely Maybe, it seemed to be the birth of a new scene. After the punk of the late 1970s, the droning post-punk of the ‘80s or the scattering of high-glamour, theatrical pop or electronica artists, it had been a stretch of time since the UK was gripped by good old-fashioned, plain and simple rock and roll. So when the Gallagher brothers emerged, quite literally declaring, “I’m a rock ‘n’ roll star”, it felt like the grand return music fans had been clamouring for. Despite being titled Britpop by Stuart Maconie, really, it was Britrock that soundtracked the 1990s.
Of course, to many, it also feels significant that they were declaring the change in northern accents. After years of Thatcherism shredding the country, specifically northern, working-class communities apart, the sharp rise of Oasis felt like a group of lads scabbing a flag into the earth and saying, ‘England is mine’. Not too long after, groups like Pulp were there too, singing “You’ll never live like common people”, or presenting distinctly working-class British stories on tracks like ‘I Spy’ or ‘Disco 2000’.
So, with this view, Britpop becomes the sound of reclamation. It’s a post-ironic flag brandishing that’s not in a far-right, ‘this is our country’ kind of way. Instead, it’s salt-of-the-earth British groups returning to the basics of starting bands in their garage, writing songs about local scenes, playing gigs in small pubs and clubs before climbing up to the top. If The Beatles or The Rolling Stones had caused the British invasion in the 1960s by doing exactly that, the bands of the 1990s launched Britpop by trying to bring those glory days back. In fact, Maconie claimed that he’d first come across the term he’s credited for popularising in 1960s coverage of what could be seen as the first Britpop wave’.
However, Britpop is not a simple class thing. Just as quickly as Oasis emerged onto the scene as the new working class heroes of rock, they were pitted against a worthy adversary for the ultimate ‘us vs them’ battle. Blur were doing the same thing musically as they delivered outright rock tunes with a catchy pop edge to make them broadly loved and on radio repeats. But they were doing it as ‘posh kids’ from the south of England. While Oasis were singing “Where were you while we were getting high” on ‘Champagne Supernova’, they were always more ‘Cigarettes and Alcohol’. Meanwhile, Blur were champagne and cocaine, all hailing from more well-to-do, middle-class London backgrounds. Their fans took sides fiercely, proving just how much music is tied into social commentary as their rivalry also became a vendetta of geography and class.
August 1995: Blur vs Oasis
It could be argued that Britpop wouldn’t be such a well-known moment if it wasn’t for the so-called ‘Battle Of Britpop’ in 1995, which seems to encapsulate the whole thing. It’s true that the era was always more than just Blur vs Oasis; other acts like Suede, The Verve, Elastica, Stereophonics, and more were just as important when it came to crafting the sound of the moment. But it’s the rivalry between the two acts, especially the one that broke out during their battle for number one between ‘Country House’ and ‘Roll With It’, that provides a perfect image of what Britpop was in terms of look and feel.
There are countless video clips of the two bands throwing verbal punches at one another, and each and every one has the energy of two football teams winding each other up before a game. Or, for a more relatable British example, they have the energy of a boozed-up pub spat, where each insult is delivered with signature British humour and wit, from a man dressed in the Fred Perry polo, scruffy hair and Harrington combo that these bands made famous. It’s hype masculine behaviour with a cool, edge facade that seems to take some of the sting out of it. Instead, it seems to be looking at the stereotype of rough, lager drinking, sports-hooligan British men and then simultaneously leaning into it while making fun of it.
As the Battle of Britpop grew more fierce, it proved just how much the British public loves a fight. By dividing into two teams and witnessing the spatting banter and competitive jeering that anyone who’s spent a match night in a pub knows well, the musical genre became a phenomenon as it leaned into shared UK culture and soundtracked it with a unique mix of glorifying arms-in-the-air anthemic pride, and just enough critical commentary to stay cool.
So, what is Britpop?
To answer the question of what Britpop was exactly, the answer is simple: a phenomenon. Musically, the Britpop bands involved were merely delivering pure and simple rock and roll but with a distinct British twang, either sharing stories of the local celebrities or just letting their accents cut through clearly. But it was more than just music. As bands like Suede appeared on magazine covers wrapped in Union Jacks, the scene seemed to bring back a sense of pride in the country, but through its music and social scenes.
While the punk scene headed up by the Sex Pistols was of British invention, tracks like ‘Anarchy In The UK’ made rejecting the country part of the make-up of the subculture. In stark contrast, Britpop embodied a kind of love for Britain, but for its humour, cultural exports, local town dramas, dingy pubs and all the bands keeping the grand tradition of rock and roll going in the 1990s.
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https://medium.com/%40BeautyInLonely/all-the-people-britpop-and-british-working-class-culture-b5d509c9bf29
|
en
|
All the people: Britpop and British working class culture
|
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[
"Catherine Rogan",
"medium.com"
] |
2018-03-25T12:31:01.181000+00:00
|
Where my dad had mods, and the generation between us had punk, I ended up with Britpop. The period between my 15th birthday and my 18th was a period of genuine optimism when Britain shrugged off the…
|
en
|
Medium
|
https://medium.com/@BeautyInLonely/all-the-people-britpop-and-british-working-class-culture-b5d509c9bf29
|
Where my dad had mods, and the generation between us had punk, I ended up with Britpop. The period between my 15th birthday and my 18th was a period of genuine optimism when Britain shrugged off the hair metal of Bon Jovi and Guns ’n’ Roses and pulled on a Kappa or Adidas tracksuit.
Looking back, half of what made Cool Britannia cool wasn’t Britpop at all, at least not how we would end up defining it. But all of a sudden there was a constant stream of songs about what it meant to be British, and to be working class. Three songs stuck with me in particular: Parklife, Common People and A Design for Life.
In August 1994 Blur released Parklife, the title song of the album of the same year. Of these three songs it is the one that is thoroughbred, dyed in the wool Britpop. Jangly and primary coloured, with Quadrophenia star Phil Daniels providing vocals on the spoken verse, its accompanying video featured Daniels and Blur frontman Damon Albarn drive around an as-yet ungentrified East London in a beat up Ford, pretending to be double glazing salesmen.
Not exactly a celebration of working class culture (Sample lyrics: I get up when I want except on Wednesdays /When I get rudely awakened by the dustmen), the song did however set a standard for the Kinks-esque storytelling, slice of life mode of songwriting that would embody Britpop. However, Blur did themselves no favours. The hilariously posh James Blunt described Albarn as having “an orchard full of plums in his mouth and a silver spoon stuck up his arse.” Albarn (an Essex boy like Brand), along with his bandmates, the other musicians in this list and myself, went to what Tony Blair would describe as a “bog standard comp”. It is true that in speech Albarn was a lot less cockney (or mockney) than in song. My sister adored Blur which, of course, put me right off them. On hearing the chorus to Parklife (Awwww the peepuwww, so many peepuwww…) I dubbed them the “New Chas n Dave” and even made a Chas n Dave CD inlay which I put in the copy of their following album The Great Escape when I gave it to her for her birthday. She was unamused.
Blur went to art school but so did Pulp (see below). Blur were seen as the middle-class posh boys when they took on the suitably unsullied-by-education working class Oasis in “the battle of britpop” later in 1994, when their Country House was released on the same day as the Manchester band’s Roll with It. Some of the criticism was born from the slightly sneering tone of Parklife (not just the song but the album), but they suffered heavily because of the idea that your working class hero should be a noble-ish savage and not, under any circumstances, reference Balzac.
Nine months to the day later, Pulp’s breakout hit, Common People was released. There was no hiding the fact that Jarvis Cocker had been to art school (the song opens with “She came from Greece she had a thirst for knowledge/ She studied sculpture at Saint Martin’s College”) But Pulp were saved from accusations of being middle class by their sheer northernness. This despite the fact that Cocker’s mother was a (shock!) Conservative councillor! In Sheffield as well!
At a casual glance, it’s a similar premise to Parklife — a kitchen-sink-melodrama narrative with a brightly coloured, pantomime video (even with almost matching shots of terraced housing) but the point was very different. “Laugh along even though they’re laughing at you/ and the stupid things that you do/Because you think that poor is cool” could almost have been written as a riposte to Blur’s apparent posturing. The song was a smash hit and propelled the band, who had been struggling on in one form or another since the early 80s, to stardom. You could pick up an “I’m Common” T shirt from your local HMV. Of course to spend fifteen quid (a lot of money in those days) on a T shirt that said “I’m Common” was missing the point of the song spectacularly. I still have mine, although it’s a little tight now.
I loved and still love Pulp, and Common People is a song I will always hold in great affection. The album it came from (Different Class, given to me as a birthday present from my sister with no sarcastic inlay card) was worn out on the sixth form common room tape deck and I rather clumsily used the line “You wanna sleep with common people like me?” to try and seduce a fellow student (I was rebuffed with a card that read “I’m no common person”). Two and a bit years later it would be the first song I would dance to with my partner, who I met at an indie disco at the student’s union (Liverpool John Moores, not St Martin’s). I refrained from doing the amusingly literal dance I used to do along to the song at parties back home, otherwise he might also have escaped my clutches.
Nearly a year would pass and I would try and fail to learn to drive before what I would argue is not just the greatest song of the era, but the greatest song of all time would come out. A Design for Life didn’t sneer, nor did it hide its erudition behind jokiness. From the opening line “Lib’ries gave us power” to the video which quotes Lenin and misquotes Orwell (“Hope lies in the proles”) these three Welsh valley boys, reeling still from the disappearance of their band-mate and school-friend Richey, skewered class and politics, and the idea that the Gallagher brothers were somehow more authentically working class by never having read a book. I’m reasonably sure it’s the only time there’s been a Lenin quote on Top of the Pops. And not just Lenin, there’s Le Corbusier. And Henry Van de Vald. And the lead singer has a slightly mangled Kierkegaard quote tattooed on him, and had since he worked in a bar in Newport. Where had this band been all my life? The short answer is making music since I was ten, but it took a number two hit to get them on my radar. They are bog standard comp boys, valley boys who don’t have to joke around to hide being clever, they read because they want to and are proud to be educated. James Dean Bradfield, he of the tattooed Kierkegaard quote, who talks about class and uses phrases like “iconoclastic eroticism” when talking about why he likes V-necked T-shirts, is considered the uneducated one (he went to sixth form so infrequently he turned up a day late for the last day.) The video, between quotes and shots of the band miming in a chilly-looking warehouse, juxtaposes footage of: drunk Leeds United fans and toffs in top hats at Ascot; fox hunters and poll tax protesters. Twenty years on I had the slightly meta experience of seeing the band play A Design for Life live, with a projected backdrop of the video, at the Royal Albert Hall. The video has footage, juxtaposed with the football fans again, of the flag waving Last Night of the Proms. We cheered when that came up, the proles (at least one of whom is a Leeds fan and was a little tipsy) having stormed the proms. Well, not so much stormed as paid £45 to get in. But still, as Orwell actually said, “If there is hope, it lies in the proles.”
Class conscious but not arrogant, the Manics would support Oasis on their American tour, and at the Britpoptacular behemoth that was Knebworth. In 1998 they would score a number one hit with a song about working class Welshmen going to fight for the International Brigades in Spain. They would go on to have the first number one of the new millennium with Masses Against the Classes, a song that opens with a sample of Noam Chomsky. They are still going, like a series of well-timed explosions in a bookshop.
|
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| 8 |
https://storymaps.arcgis.com/stories/786ada655d424028881095241d2be48b
|
en
|
Britpop in the 90's
|
[] |
[] |
[] |
[
""
] | null |
[
"Alyssa Rodriguez"
] |
2019-10-30T17:50:57+00:00
|
How Britpop emerged as a staple of music from the UK
|
en
|
/static/images/favicon-32x32.png
|
ArcGIS StoryMaps
|
https://storymaps.arcgis.com/stories/786ada655d424028881095241d2be48b
|
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