Spotify Playlist (missing Delicatessen, Heavy Stereo, Elcka, Powder, Brassy, Telstarr)
Youtube Playlist (complete, but some videos seem to be blocked in the UK)
1. Black Grape – Reverend Black Grape
When
Shaun Ryder parted ways with The Happy Mondays it was after one of the
most disastrous recording sessions in history. ‘Yes Please’ was recorded
in Eddy Grant’s house in Barbados, where the group had been sent so
that Shaun wouldn’t take heroin. They stole and sold Eddy Grant’s
furniture and used it to buy crack, which they smoked on sun-loungers
next to the swimming pool. Returning to the UK, they held the tapes
hostage, and threatened to destroy them. After paying up, Factory found
that the songs contained no vocals whatsoever – Shawn hadn’t even gotten
around to writing any. The label went bankrupt soon after. The idea
that any record label would trust Shaun Ryder to record anything again
was faintly ridiculous, and I doubt anyone could have guessed that he’d
recruit a few of his mates, release an LP on a major label and a have
series of hits just a couple of years later. 1995 was an odd time – and
odder still, their debut single is simply brilliant, joyfully plundering
from a vast buffet of inspiration, and with an actual bass-line and
beats behind it all – completely joyful and triumphant. It wasn’t to
last, of course, but never mind that.
2. Oasis – Acquiesce
It’s
the start of 1995, and Oasis are still on the ascendant. Acquiesce
finds them returning home in triumph, a shame there was nobody to
whisper “you are mortal” in their ears. Rumor has it that the swapping
of vocal duties between the verse and the chorus meant that Noel and
Liam were singing about each-other – now if that isn’t wishful thinking,
then I don’t know what is. More like it was one of their last
experiments, and I wish there had been more.
3. McAlmont and Butler – Yes
Bernard
Butler, who had left Suede in a fog of acrimony mid-way through the
recording of their second LP, wrote ‘Yes’ as a snide kiss-off to the
group when they asked him to return, then found David McAlmont (who had
also recently left a group) to sing it. The result is five minutes of
the most positively joyful “fuck you” you’ll ever hear – “I feel well
enough to tell you what you can do with what you got to offer” – i.e
“take your band and shove it.” The pair would stay together for only a
few months – long enough to record enough tracks for a short album.
Delicatessen never sought to be pop stars, that’s for sure, but Britpop was a scene, and its tendrils extended even this far out, connecting these lovers of discordancy to the members of Suede, Supergrass and Powder. CF Kane is the closest thing they had to a hit, and its chorus is literally a man screaming over a wall of white noise.
5. Cast – Finetime
The
La’s would have been perfect for Britpop, but after taking the best
part of five years to record a short LP’s worth of songs, Lee Mavers
retreated into his cave, and it was left to his bassist John Power to
form a new band, which he named ‘Cast’ as the final lyrics on “The La’s”
are “the change is cast” – to JP this is a powerful metaphor, meaning
the group is a continuation of an predestined idea, but as a name by
itself it gives the impression of a rotating group of anonymous,
replaceable players following a script. Fortunately John had a couple of
good songs up his sleeve – Finetime and Alright – but unfortunately the
well seemed to run dry soon after. By the time “Walkaway” had become
the stock music for montages of sports teams losing, I was bored with
Cast.
6. Heavy Stereo – Sleep Freak
The
concept behind Heavy Stereo was simple – “We’re The Glitter Band,” and
that was basically it. It was good enough for me, though, I actually
bought two singles, and contemplated getting the album too, though
looking back it’s hard to see why I didn’t just buy a ‘Best of Glam
Rock’ instead. “Sleep Freak” seems to be the only thing that stands up
on its own now, and even that only just. Heavy Stereo thought they had a
big break when they went on tour with Oasis, and guitarist Gem Archer
really did – Noel noticed that he was better than Bonehead and quickly
moved to absorb him into his folds. For the rest of Heavy Stereo, that
was that.
7. Smaller – God I Hate This Town
Pete
“Digsy” Deary might have had a number one hit in France, Italy,
Germany, and Hong Kong (Cook da Books’s ‘Your Eyes’) but he’s still
destined to be forever remembered as “mate of Oasis” and nothing much
else. Smaller were too slow off the marks, and didn’t really ever look
like a going concern, but at least with “God I hate This Town” they
managed to tie the rock side of Britpop to a vaguely Punk outlook.
8. Elcka – Games We Play
There
seemed to be a blizzard of new bands in 1995, and even though I was
scouring Select for any mention of anyone new, some things even escaped
me. Elcka, by all counts, were an excellent live act, but didn’t seem to
get it together in the studio until it was too late. I’ll leave it to
someone who actually saw them at the time to go into a little more depth here.
There was a goth-glam undercurrent to much of D-list Britpop (I’m
thinking of King Adora and Subcircus here), which finally emerged into
the mainstream in the form of Placebo. If you don’t think that Placebo
are mainstream then you probably haven’t lived in continental Europe.
10. Marion – Let’s All Go Together (Slide Mix)
Boasting
the best voice and the prettiest face in Britpop, Jamie Harding seemed
feted to be one of the lasting stars of the movement. The music had a
vague edge of dangerousness to it, the group had a knack for writing
epic-sounding rock songs… aside from boasting Britpop’s Only Beard™ they
seemed to have everything sewn up. But then Jamie discovered heroin,
and swiftly transitioned from debauched rockstar to junkie in a bedsit. This surprisingly candid NME article
has most of the detail – a sad story, especially with their early
promise, but the good news is that he seems to be past it now, and is
back to performing. ‘Let’s All Go Together’ is a growling romp about
mass suicide, which featured on an excellent Select tape.
11. Powder – Deep-Fried
Menswear
had an easy ride compared to Powder, who elicited two responses; “I
hate them” and “who?” The second response became ubiquitous when singer
Pearl Lowe later emerged as a celebrity of some sort, for reasons too
silly to go over here. Powder were a bit like a gothy, female-fronted
Menswear, all louche debauched messiness over ‘fuck it’ art-punk. Pearl
wasn’t the most talented singer, but her 6am growl suited the mood, and
they at least had, what, three half-decent tunes to back it up. They
broke up when Pearl became pregnant, so any promise was ultimately
unfulfilled, though Pearl did go on to join Britpop D-league supergroup
Lodger a few years later. I proudly submit myself as one of a select few
who genuinely enjoyed every minute
12. Northern Uproar – Rollercoaster
Oh
god, just look at them. Four high school kids who think if they put on
parkas and glare at the camera they’ll be the next Oasis. That’s what I
used to think, anyway – if ‘they’ hated Menswear and Powder, then I had
license to hate Northern Uproar, that sounded fair. Only it wasn’t, of
course, these kids had a right to the same treatment as anyone else, and
while I’ll never really be a fan, Rollercoaster is still not bad,
capturing as it does a lot of the excitement of being a 16-year-old on
tour with your heroes.
13. Super Furry Animals – Hometown Unicorn
Up
to this point ‘Brit’ has generally stood for ‘England’, or actually
‘Camden’. The scene had started there, and that’s where you moved if you
wanted to be in on it. Much as with other musical movements, there was a
ripple effect as people around the country realized that being in a
band could get you on top of the pops, not just playing the local toilet
circuit. Wales in particular saw an explosion in new groups, though
some of them are too left-field (i.e Gorky’s Zygotic Mynci) or too rock
(Sterophonics) to be included here. The Super Furry Animals were easily
the most exciting of these, turning up to festivals in a tank,
recording the sweariest single of all time and featuring celebrity
drug-smuggler Howard Marks on their album cover, inevitably leading to
both cult following and chart success. At this point I’m almost ashamed
to admit that even after buying their first few singles, SFA never
really clicked with me as something I could truly love, and I am
entirely unable to put my finger on exactly why. This is embarrassing as
almost all my friends love them. Sorry.
14. Brassy – Boss
Muffin
Spencer (sister of Jon, of Blues Explosion fame) is (as far as I know)
the only American voice on this compilation, and she’s here because she
made her way across the Atlantic, formed a group with locals in
Manchester, and released a couple of astonishing singles: like Chrissy
Hynde, only better, and without any of the success. ‘Boss’ is my
favourite – a tight low-fi racket with Muffin purring her way through
vague descriptions of an unspecified (but disgusting sounding) sexual
act. Unfortunately their label would collapse before they were able to
put an LP out, but years later they would reform to make an indie
hip-hop LP which finally had some success in the form of a Motorola
jingle taken from the single ‘Play Some D’. Poor old Brassy.
15. Mansun – Thief
My
sense is that Mansun don’t belong to Britpop at all, but they were the
beneficiaries of the A&R scramble for indie bands in the wake of
Parklife, so they fit around here in the story. Blessed with huge prog
rock pretentions and lyrics so bad that they felt they needed to write another song to stop people reading them,
they weren’t really my thing – and yet I seem to have bought the One
EP, Two EP and Three EP, and listened to them, and enjoyed them enough
to listen to them again. ‘Thief’ is from the One EP, a standard-enough
Mansun b-side which lurches into a tremendous breakdown halfway through.
16. Gene – Fighting Fit
Gene
were early at the party, but took a while to get going. ‘Fighting Fit’,
their biggest and most anthemic single was released in the Autumn of
1996, and its parent album not until the following year. This small
amount of success seemed to be something of a long service prize, the
group having stuck to their plan of recording songs that sounded like
weepy yet macho versions of Smiths ballads even as it failed to get them
on Top Of The Pops. To be fair to Gene, it was clear that there was
something of substance here, and at another time or another place it
would have been valued more. A couple of years later it was all done – a
fact I realized when they felt the need to send a promo of their LP to
my (circulation approx. 25) non-Gene-related zine.
17. Telstarr – Berserk
I
must have picked up this record at the much missed Magpie Records in
Worcester, though I have no idea why, only that it’s a complete joy of a
post-Pulp Britpop single, a paean to the joys of washing away
existential misery with a night out on the town. According to the
internet it was played a few times on The Evening Session, and 45cat have a scan of the back cover with a full list of band members.
Aside from that, the world seems to have forgotten Telstarr. If anyone
has any further information about this group then please leave a
comment.
18. Lush – Last Night
Stalwarts
of The Scene That Celebrates Itself, Lush started out as a
proto-shoegaze band, gradually became increasingly dreamy and floaty,
then shifted direction completely when Britpop came along to become, if
anything, the most commercial-sounding group of the lot. It’s unclear
how much of this change was due to record company pressure, but they had
certainly not given up on dream pop, as evidenced by ‘Last Night’ – one
of a few gorgeously realized soundscapes which were relegated to
b-sides or album tracks while ‘Single Girl’ and ‘Ladykillers’ were
a-listed on Radio 1. Evidently the group were ready to shift back to the
music they wanted to make as soon as possible, but after a depressing
American tour supporting the Gin Blossoms, drummer Chris Acland commited
suicide, and the rest of the group decided to call it a day, with Miki
quitting music entirely. There’s a good article on the group here.
Edit: Three hours after I press ‘post’ Lush announce a reunion. Astounding. https://twitter.com/evjanderson/status/648467764139700224
19. The Bluetones – The Fountainhead
Shed
Seven played Worcester at the start of 1995. I didn’t go, but people
who did came back raving about the support act, The Bluetones, and a
couple had bought their self-pressed 7″ single with future hit Slight
Return on one side and The Fountainhead on the other. Everyone was sure
that they’d soon be the biggest band in the world, which is odd as for
all their success, nobody ever seemed excited about them again. Never
Britpop’s brightest peacocks, The Bluetones hid their hooks in secret
places – rhythms, countermelodies – and this was somehow enough to keep
them in business for most of the decade. The Fountainhead (hopefully
nothing to do with Ayn Rand) is a good demonstration of their appeal –
an excerpt from a guitar jam, stretched out into a digression of a song,
technically proficient and adventurous without showing off. Which
brings us to…
20. Ocean Colour Scene – I Wanna Stay Alive With You
Making
this compilation has meant listening to a few things I would’ve
otherwise not. In the case of OCS, it meant I needed to confront my
prejudices. Do I even really dislike them, or am I just following the
opinion I’m expected to have? Is the problem with the group, or what
they stand for? The way all this exciting music was morphing into a
couple of dull formulas? The pride in musicianship ahead of quality? The
way all the eccentric characters were disappearing to be replaced by
identical muso blokes with nothing much to say? The last one seems
unfair in this case – unlike most of the other acts here, OCS weren’t
all white, or all-straight, and yet… And yet listening to their Britpop
LP, Mosely Shoals, every track seems to be an homage to a certain type
of mod or soul instrumental, intricately worked out, but lacking any
character of its own. It’s not that any of it is bad, it’s just, what’s
the point? What are they actually expressing here? The one exception to
this is ‘I Wanna Stay Alive With You’, where the artifice is stripped
away and we’re left with a simple, honest love song. I’m torn between
enjoying it for itself and cursing them for not making more like this.
Next: 1996, 1997 and the end of the road
Pingback: Britpop Nuggets Part One – Some People are Born to Dance | haonowshaokao
#17: “the world seems to have forgotten Telstarr. If anyone has any further information about this group then please leave a comment.”
It seems they are on Spotify: https://open.spotify.com/user/martin_broadley/playlist/3723Swyx8ODNocnfJolKRl