1993 - the birth of Britpop - 10 songs 30-years on

You could argue endlessly about what Britpop is and isn't / was and wasn't. For me personally, it was a period of time from March 1994 through to the summer of 1996. Girls & Boys to Knebworth while Sorted for E's and Whizz. But, as you'll read below, the seeds were truly sown in 1993.

Some would argue that Britpop (British bands with guitars) started in the 1960's and never stopped. Now and then a band or scene would explode; Merseybeat, Mod, Garage, Psychedelia, Glam, Punk, New Wave, Indie, Indie/Dance crossover, Madchester ... there are always peaks and troughs, but its ongoing.

Usually a handful of bands would breakthrough and a trail of copycats or chancers would attempt to follow closely behind them.  Occasionally, truly special bands would just come along and be absolutely untouchable. Think of The Smiths. They stood alone. They didn't really have any peers.

Meanwhile, for Britpop purists, Britpop lasted from 1993 - 1997/98. Many cite Pulp's This Is Hardcore as the official end of Britpop. For me, Britpop ended at Knebworth, but the death was confirmed in 1997 when bands began to veer much more leftfield, experimenting with instruments and sound. OK Computer by Radiohead, Ladies and Gentleman We Are Floating In Space by Spiritualized, Vanishing Point by Primal Scream ... music was moving on while Oasis were releasing Be Here Now.

 Britpop, the label, was applied to a 'scene' in the UK back in the spring of 1993 when Select Magazine put Brett Anderson from Suede on their cover with the title Yanks Go Home! The magazine highlighted that Suede, St Etienne, Denim, Pulp and The Auteurs were ready to Battle for Britain. Five very different bands indeed! Not really a scene! 

In an article by Stuart Maconie, Select opted for Dad's Army style sloganeering with Who do you think you are kidding Mr Cobain? Stating that they'd had enough of miserable grungewear and self-obsessed slacker bands, going on to say that they would reclaim the Union Jack from the Nazis.

Mr Kurt Cobain's Nirvana had exploded from nowhere and a string of bands wearing plaid shirts, ripped jeans and battered converse followed them. Record companies decamped to Seattle and bands like Stone Temple Pilots, Soundgarden and Alice in Chains were heavily pushed. Only, Nirvana apart .... they weren't very interesting ... In fact, they were very boring. Perhaps, heroin, the scenes drug of choice, was partly to blame. In contrast to the Britpop bands being sorted for E's, whizz and a blizzard of cocaine ... before heroin was introduced to many on the London scene. That's a whole other blog and debate though!

Select's timing was perfect; 

• a year after Suede appeared on the cover of Melody Maker before releasing a note of music,
• a month on from their first top 10 single with Animal Nitrate 
• and to co-incide with the release of their eponymous debut. 

The magazine hit the spot. And they clearly saw the potential in Pulp - 10-years after their debut single. As for The Auteurs ... I have no idea why they were featured, if you check their interview online, they just don't seem interested and they have disassociated themselves with Britpop ever since - no wonder, they were anything but Britpop!

Suede received extensive coverage and lavish praise in the issue and frontman Brett Anderson played on it, producing memorable quotes like; 'Yes, I do feel invincible ... '

Suede were being hyped beyond belief and for the first time in ages, it seemed like a band was going to live up to it. Their first 4-singles (blogged on here) were electric, exciting and exhilarating. This was a band shooting for the stars.

In the same month as the famous Select cover, Blur released For Tomorrow as a single - blogged on here.  

For me, 90's Britpop properly started in the spring of 1994 when Blur released Girls & Boys, Kurt Cobain committed suicide and Oasis released Supersonic. The seeds sown by Suede a year earlier were now in bloom (excuse the Nirvana reference!). Blur would embrace Britpop wholeheartedly, while Noel and Liam repeatedly called themselves a rock n roll band.

The doors to the mainstream were well and truly kicked in and many others flowed in, looking for their fifteen minutes of fame. 

A band called The Jennifers changed their name to Supergrass, Shaun Ryder was reborn with Black Grape, Sleeper went pop, John Power from The La's had some massive hits with Cast, Menswear formed as a direct result of Britpop, while even lofi artists like Babybird had a go with 1996 hit single You're Gorgeous and in the aftermath of Oasis it seemed like any northern band with a feather cut and a cagoule could get a record deal - Northern Uproar being a prime example. 

Britpop became a movement, for a wonderful period there were amazing singles and albums being released every week. This peaked in 1995 with albums like Different Class, (What's The Story) Morning Glory?, The Great Escape, Elastica, All Change, It's Great When You're Straight ... Yeah!, I Should Coco, Stanley Road, Wake Up Boo! .... quintessential Britpop albums.

1995 also saw the release A Northern Soul, The Bends, Grand Prix, The Charlatans, Exit Planet Dust, Leftism and Maxinquaye. I'll save a blog on 1995 for another time, but it really was an exceptional year for British music.

Back to 1993.

It's interesting to reflect back on some of the singles and albums released by British bands in that year. Many of the artists are still releasing brilliant music 30-years down the line. 

Non-UK singles released in 1993 included the super cool Cannonball by The Breeders, the classic Killing In The Name Of by Rage Against The Machine, Bjork's incredible Human Behaviour and sublime Venus As A Boy, Feed The Tree by Belly, Into Your Arms by The Lemonheads, Today by Smashing Pumpkins and the life affirming Everybody Hurts by R.E.M.

As per the opening paragraph, you could argue endlessly about what was Britpop and what wasn't, but here are 10 singles from British alternative/indie artists that were released in 1993. OK make that 11 as I've added 2 from Pulp! I've added links to videos for all the songs I have written about below.  

Here is a playlist of the NME singles of the year for 1993. 

10 'Britpop' singles from 1993

Open Up by Leftfield and John Lydon

The throbbing energy of electro and punk combined to stunning effect. Lydon snarls and sneers his way through the song while Leftfield fuse techno and dub rhythms to create something that sounds dangerous and captivating. Young upstarts The Dust Brothers - later to change their name to The Chemical Brothers - provided a remix. Perhaps this paved the way for many other electronic acts to think outside of the box for guest vocalists.

Open Up - official video

Dust Brothers/Chemical Brothers remix

Animal Nitrate by Suede

Suede gatecrashed the top 10 with their 3rd single. Brett Anderson was beamed into living rooms across the country singing what does it take to turn you on? showing off his midriff, shaking, shimmying and causing teenagers to get excited and curious, while their parents tut tutted. Bernard Butler's guitar sounded like nothing else going on at that time.

Animal Nitrate - official video

Stutter by Elastica

Suede might have started the Britpop party, but they soon distanced themselves from it with the release of their second album, Dog Man Star, in 1994. Meanwhile, ex-Suede member Justine Frischmann (and now girlfriend of Damon Albarn) was making an entrance with her band Elastica's debut single in June of 1993. Two verses, two choruses and lasting a little over 2-minutes long, Stutter was (and remains) a beautifully brash slice of punky new wave pop that has dated well. It still sounds fresh, fun and vital 30-years down the line.

Stutter - official video

From Despair To Where by Manic St Preachers

The Manics could never be classed as Britpop, although they were never far away from the scene. Nicky Wire declared his love for Oasis and the Manics played Knebworth, but the Manics intelligence set them apart. On their biggest hits they were singing libraries gave us power and if you tolerate this then your children will be next. Quite whether these songs would have reached number 2 and 1 in the charts without the Britpop effect is up for debate. 

On From Despair To Where the Manics display their ear for melody with a catchy chorus and insanely catchy guitar riff and a touch of class with the string section leading the instrumental. 

From Despair To Where - official video

For Tomorrow by Blur

It's safe to say, on reflection, that For Tomorrow was a game changing single for Blur. Broken after a long American tour, Albarn found solace in the music of The Kinks. On the brink of being dropped by their label, Blur regrouped, bought old suit jackets, Doc Marten Boots and Fred Perry tops. All of a sudden it felt like Blur had found their sound and look. In that sense, I'd argue that it's one of the most important singles of the Britpop era.

For Tomorrow has a beautiful feel to it; strings, la la la's, a very southern English vocal by Albarn and solid beats. The video rubber stamped Blur's new identity; Albarn hanging off the back of a London double decker bus, floating in The Thames, the band playing football in Trafalgur Square and hanging around on Primrose Hill. All wearing the aforementioned new Blur uniform of suit jacket and jeans. The melody changes for the final two verses, flowing superbly as Albarn sings modern life is rubbish.

Photo by Kevin Cummins

Official video

Regret by New Order

I always feel warmer when I hear Regret by New Order. That opening burst of guitar and synth combining so naturally, then it comes in again, like a stutter, but then the groove and flow kicks in. And oh how Regret groove and flows. 

The chorus might be the most uplifting out and out chorus in the New Order cannon, Hooky's bass solo is magnificent and the outro with Barney singing just wait til tomorrow, I guess that's what they all say, just before they fall apart tugs on my heartstrings every time I hear it.

Veterans from the post punk scene with Joy Division, New Order had over a decade of experience of showing how independent bands could have hit singles.

Regret official video

Creep by Radiohead

Originally released in September 1992, Radiohead's debut single Creep became a slow burning word-of-mouth sensation. Despite being on the bands Pablo Honey album, the demand was clear, Creep had to be reissued.

After reaching number 78 in September 1992, Creep broke through to the top 10, reaching number 7 when rereleased a year later.

I hadn't listened to Creep in years, probably decades before writing this blog. It's still incredibly emotive from the off; the chord progression, Thom Yorke's voice, the bridge to the chorus, introduced by Jonny Greenwood's crunching guitar;

I wish I was special

You're so fucking special

But I'm a creep

I'm a weirdo

What the hell am I doing here?

I don't belong here

Yorke's voice rises for the she's running out the door section, he really goes for it, matched by Greenwood on guitar. It's an incredible performance.

Of course, Radiohead most definitely aren't Britpop. They weren't in 1993 and they weren't with their phenomenal album The Bends, released in 1995, but singles from that album stretched out across Britpop from 1994-96.

The band highlighted their considerable development in 1997 with the release of the OK Computer album, staggering Paranoid Android single and the contribution of the remarkable Lucky to the Help album for Warchild. They were out on their own. They still are.

Official video

Wild Wood by Paul Weller

Paul Weller has always burned with a fierce energy. He seemed to burn particularly brightly through the 90's. Going under his own name for the first time after The Jam and The Style Council, Weller was perhaps fired up by the opportunity to recruit different people into his band, or to have guest with him. 

He quickly followed his eponymous debut solo album from 1992 with Wild Wood in 1993. The title track is beautifully lazy and hazy, Weller's voice is rich and raw, the rhythm is mellow and the guitar solo is wonderfully playful.

Weller recognised the working class fire and songwriting talent of Noel Gallagher and the two became great friends. In the heady days of 1995 the pair played together on Channel 4's The White Room, singing Noel's Talk Tonight.

Official video

Lipgloss by Pulp

Back in early 1993, Pulp achieved their first chart placing when they reached the heady heights of number 80 with Razzmatazz, their final single for Gift Records. Remarkably, given their atrocious track record from 1983-1993, the band then signed a major label deal with Island Records! 

Clearly, someone in the A&R team at Island was on it! Perhaps the feature in Select helped? I imagine loads of A&R would have bypassed even listening to Pulp demos or going to see them live.

But with the His n Hers album ready for release in 1994, Pulp were ready to explode. Actually, when you look back at their discography, from the release of the Babies single in 1992, Pulp were on fire for a few years; Babies, Razzmatazz, Lipgloss, Do You Remember The First Time?, The Sisters EP, Common People, Sorted For E's & Whizz b/w Mis-shapes, Disco 2000 and Something's Changed.

That's quite a run of singles! Add in the His n Hers and Different Class albums along with a show stealing headline slot at Glastonbury 1995 as last minute replacements for Stone Roses after John Squire broke his collarbone ... Pulp ruled Britpop. 

But back to 1993. Pulp got to number 80 with Razzmatazz and then number 50 with Lipgloss. Jarvis is almost spoken word at times, whispering at others, rising for the chorus that is underpinned by some brilliant guitar riffing.

Oh you've got your lipgloss honey, oh yeah

Now nothing you can do can turn him on

There's something wrong

You had it once but now it's gone

Cocker is observant, reflective, honest and playful across both of these singles. Strong hints of what was coming.

Official video - Lipgloss

Official video - Razzmatazz

You're In A Bad Way by Saint Etienne

As a regular and avid reader of the NME and Melody Maker I couldn't help but fall for Saint Etienne, falling extra hard for their gorgeous singer Sarah Cracknell. I bought this single on 7-inch and it was one of many songs that I included on a mixtape for our 6th Year common room at Carluke High School.

You're In A Bad Way bursts into life from the off, all kinds of sugary, sweet goodness. Cracknell seductively sings just dial my number, I've got some plans for you while Wiggs and Stanley create a flowing pop symphony, complete with a little caribbean steel drum solo. 

This is such a pure rush of a pop song that reached number 12 in the charts. Saint Etienne are still creating wonderful pop music all these years down the line. It's well worth checking some of their sublime compilation albums like Songs From Mario's Cafe and The Trip created by Saint Etienne to dig into some of their influences.

Official video

Grant, Blake & Butler at Strathaven Hotel

When FRETS announced that there would be a follow up to the Grant, Blake & Butler Celtic Connections shows in their hometown of Strathaven I immediately snapped up a couple of tickets. Their Saint Lukes show at the end of January left me with a warm afterglow for a couple of weeks.

Three brilliant songwriters clearly enjoying getting together, learning (and appreciating) each others songs and having fun playing them.

My friend Christina bagged the one and only handwritten setlist

James Grant kindly arranged to get it signed for her

The setlist was largely the same as January, a cover of The Monkees Me and Magdalena, written by Norman's friend Ben Gibbard, was a welcome addition. A really beautiful song from the last Monkees album.

Bernard talked of only discovering the song at 10pm the night before after Norman suggested playing it. He played it a few times in a row and sent it to his wife and friends, highlighting that if this show wasn't taking place then he wouldn't have discovered it.

In a similar way I wouldn't have discovered the songs by James Grant. His humour, songs and voice across the two shows I attended was incredible. Really strong and soulful.

Check State of Art from James first band Friends Again. CLICK HERE 

I need to check if Grant has recorded it in a similar way to the stripped back soulful version he played last night. Grant's voice was effortlessly rich and deep all night long. Winter was probably my favourite song that he performed.

If you're the only star, in countless constellations

Won't you shine on the debris of my situation

Winter

Shine on, shine on

In the beauty of a storm, I wither

I wither

And as for humour - his chat surrounding alpacas and misty maidens was hilarious.

Norman, joined in the fun, telling a tale about the height of each member of The Beatles and the height of his band mates in Teenage Fanclub. They were officially bigger than The Beatles!

The tale of writing I Don't Want Control Of You following the birth of his daughter is one that led to me finding deeper meaning in the song. Particularly when I became a Dad. It's such a beautiful song. And Norman's voice is ageing like a fine wine.

Every day I look in a different face

The feelings getting stronger with every embrace

I don't want a world of pain

Staring at every tear

Don't want this world to stay the same

Grow with every year

Everything Flows with Bernard going for it on his beautiful semi acoustic was a delight. Afterwards Butler said he could almost see Raymond looking over him as he played. Norman expressed his admiration at his friends playing. Bernard then let it slip that Norman had played him a new Teenage Fanclub song in the car last night after Blake had picked him up - promising news!

Ah yes, Bernard Butler. It's been a genuine pleasure to witness him playing guitar up close in such an intimate setting on a couple of occasions. He feels everything, rarely looking at the neck of his guitar. And the way he improvised on some of Grant and Blake's songs was joyful to watch.

Butler's opening choice of Souvenir was backed by a sublime performance, his reading of The Wild Ones by Suede was gorgeous - slowed down and soulful. His voice is ageing well. I can understand why he has recently released his debut album with newly recorded vocals.

And of course Yes got a suitably rapturous response on stage and off. Blake introduced it as a f**king incredible song. And it is. Again, I loved Bernard's stripped back reading of the song. Slow, sublime, soulful and spine tingling. I'd love to hear the trio record an EP or mini-album, each choosing a couple of their songs. 

Ending with a really urgent take on Neil Young's Cinnamon Girl, Grant, Blake & Butler left to a deserved standing ovation. An excellent night.

James Grant, Norman Blake & Bernard Butler at Celtic Connections

 

I'm still basking in the warm glow generated by Sunday night's Celtic Connections show in the wonderful setting of Saint Luke's in Glasgow. Everyone attending was especially glad of the warm glow when they left the venue into howling wind and pouring rain!

Three incredible songwriters and musicians are behind my good feelings. James Grant, Norman Blake and Bernard Butler were brought together by the FRETS team in a kind of songwriting circle environment.

The trio lined up across the stage, each taking it in turn to tell the story behind the song they were about to play, before all 3 would then play the song. Their banter was genuinely hilarious. James Grant - total deadpan, Norman Blake - surreal comedy stories and Bernard Butler - just about keeping up with it all.

Picture by Neil MacAllister

Brilliant banter and stunning songwriting. Grant kicked it all off, discussing how they wanted to be billed, rhyming off their names in various orders before declaring his personal favourite - Grant, Blake & Butler.

Looking resplendent in cowboy shirt and with super sleek hair, Grant started with State Of Art, laying down a marker to his friends. Norman followed with I Don't Want Control Of You, although he couldn't remember what album it was on. I particularly love this song when it is stripped back, the heartfelt meaning of the lyrics shines that little brighter. Butler then played Although, demonstrating a strong and soulful voice along with his impeccable guitar playing.

Butler's hair was impeccable too. Thick and long, he continually flicked it from his eyes, only for it to fall immediately back again. My wife and friend Lorna swooned. 

Yes, the euphoric single that Bernard wrote and released with David McAlmont in 1995 was my highlight of the night. Butler highlighted his friends incredible vocal, going on to say there was no chance he was even going to try and replicate it. The trio went on to deliver a rich and soulful version, with Blake and Grant providing excellent backing vocals at the end.

Thanks to Derek Kirwan for capturing it HERE but please check this rip roaring version from Later with Jools recorded back in the day - simply sensational. Whoever was on after them must have been thinking .... what the ....

Norman introduced Teenage Fanclub's seminal debut single by saying he had recently found the test pressing up in his parents loft,  the trio played a beautiful kind of Teenage Fanclub Have Lost It version. Afterwards, Bernard spoke with genuine affection for a moment when he was invited on stage to play Everything Flows with Teenage Fanclub in London, just before he left Suede. It was his favourite song then and his favourite song now. He made a little joke about knowing the direction he wanted to go in, before playing a beautiful version of The Wild Ones. Bernard also highlighted he was still using the same guitar from that very night.

Grant oozed confidence throughout. I'm not very familiar with his work at all, but I'll be digging into it over the months ahead. His songs were first class, Last Ship On The River (with Love and Money) was really beautiful.

I didn't expect to hear Norman stripping back The Concept, but, with the help of James and Bernard, he delivered a beautiful version, complete with long outro. Butler's guitar playing was exquisite.

After a rapturous reception and clamour for an encore (three more tunes, three more tunes) Grant, Blake & Butler closed with their three voices and guitars gelling on Neil Young's Cinnamon Girl, with Grant highlighting Young's stance against Spotify through the week.

I do hope FRETS brings this trio together again. I do hope the sound engineer recorded the gig! Check the full setlist below. This was a real treat of a show.

Britpop memories part 1

 2020, at least for me, was 25-years since peak Britpop. A quarter of a century!!!

1995 was a remarkable year for British pop music, you had the bands that, looking back, were the real Britpop heavyweights; Supergrass were Alright, Pulp were Sorted for E's & Whizz, Oasis scored their first number one and then went stratospheric with the release of Wonderwall which propelled their dizzying rise to uncharted heights worldwide, there was the Blur v Oasis battle, the return of Shaun Ryder with Black Grape, Elastica released their debut album and The Charlatans eponymous album was a belter. 

Outwith that you had Radiohead surging ahead with the incredible The Bends, Teenage Fanclub displaying exceptional songwriting on Grand Prix, Tricky and Massive Attack creating what seemed like a new kind of music, The Verve shooting for the stars with A Northern Soul, the Chemical Brothers and Leftfield releasing huge electronic albums with massive beats, Paul Weller released Stanley Road.... good music was everywhere.

If Britpop peaked in 1995 - and I mean in terms of quality of music - when did it start? When did it end? What were the highlights?

The Drowners, the debut single by Suede

Looking back, I'm amazed it didn't make the top 40. 

But it made a mark, a big one.

For me, Britpop started with Suede in 1992, leading to a peak in terms of musical quality from 'Britpop' bands in 1995, before dying in 1997 as a number of Britpop bands moved forwards and notably Oasis went backwards. 

During that time I went from being at school to working and gigging regularly in Glasgow, taking in Oasis shows from the Tramway and the Cathouse through to Knebworth. It was a remarkable ride.

As a 19 year old in 1995, Britpop was exciting, there was new music to buy every week. So much good British music was released in 1995 (not all Britpop by any means) that I'm in no doubt that it was peak Britpop; classic albums and singles that have stood the test of a quarter century; Yes by McAlmont & Butler still bursts with energy, Pulp's singles were incredible and Wonderwall must have been played in every pub across the country, uniting people from all walks of life in song.

In a year where I couldn't get out to gigs, I spent some time looking back at the Britpop phenomenon. It sure was a good time to be alive. This is by no means exhaustive, John Harris' The Last Party is a good place to start if you want to do a deep dive into this period of time.

With Part 1, we'll start at (what I think is) the beginning and travel through to March & April 1994, two of the biggest months in Britpop when so much seemed to happen, leading to an explosion of British guitar pop music.

Britpop memories part 1
1992 - April 1994

The start - Suede's early singles

Suede kickstarted Britpop with their image, ambition and pop sensibilities demonstrated on their first 4 singles; the remarkable run of The Drowners, Metal Mickey, Animal Nitrate & So Young.

By April 1993 Suede had released the first 3 of the quartet and Brett Anderson appeared on what has become an iconic cover of Select Magazine with the title Yanks Go Home.

Suede were kind of on their own in 1992 going into 93, talking about bi-sexuality, Bowie & The Smiths in a post Madchester/Rave world with the music press being largely fixated on Nirvana and the grunge scene.

Suede were distinctly British and they kicked down a door. The floodgates opened. You can check this previous BLOG on the first 4 Suede singles.

Looking back, Suede kept up a remarkable pace throughout the 1990's; releasing singles every year except 1998 and 4 albums. The line-up that burst on to the scene with Brett Anderson on vocals, Bernard Butler on guitar, Matt Osman on bass and Simon Gilbert on drums just looked and sounded incredible. 

1992 through 1993 was their time; the singles, the imagery, the endorsement from Morrissey (which meant something back then), the album ....

Modern Life Is Rubbish

Blur had a link to Suede. Justine Frischmann had been in Suede, also dating Anderson, before leaving to form Elastica and date Blur's Damon Albarn. Brett Anderson cites her as a huge influence on the first Suede album.

This bizarre love triangle is pretty central to Britpop. Look at the change in Blur's look and sound from their 1991 debut Leisure to 1993's Modern Life Is Rubbish! All of a sudden it is Fred Perry polo shirts, blazers and doc martin boots. It wasn't quite as simple as that, there was 1992's Popscene single and an extensive tour of America that left Albarn yearning for England. Perhaps there was also the realisation that Leisure wasn't very good and that with There's No Other Way they had jumped on the Madchester bandwagon.

You could easily argue that Blur jumped to another bandwagon, only this time they were in from the start through Frishmann and Suede. 

Lead single For Tomorrow shows that Albarn was significantly developing as a songwriter. There is no doubt that Blur changed and developed massively with the Modern Life Is Rubbish album and Albarn gained huge confidence.

Creep

Radiohead are definitely not Britpop, but their name continues to be linked with it, largely because of Creep and the way they developed and left the genre as far behind as they possibly could, progressing from debut Pablo Honey in 1993, through The Bends in 95 to OK Computer in 97. It is a mind blowing development!

Creep was and is an incredible song, looking back, has Thom Yorke ever sung so directly since? When he takes off with the raaaaaaaaaiiiiiinnnnnnn section I still get a tingle down my spine.

Creep was a super cool song in 1992, the use of swearing is just perfect, and listening back now, of the first time in well over a decade, it is still super cool. 

Radiohead have to be mentioned when reflecting on Britpop as they were so different and the way they worked on their songwriting, musicianship and creative energy is in direct contrast to Oasis over the same period. They stood out a mile.

I wish I was special, so f**king special

But I'm a creep, I'm a weirdo

Do You Remember The First Time?

Jarvis Cocker's Pulp were building a head of steam. The 1992 release of Babies didn't chart but it seemed to mark a change in the band that led to a string of singles leading to the His n Hers album in 1994.

Do You Remember The First Time did chart though, it was Pulp's first top 40 single. It perfectly showcased Jarvis Cocker's humour, style, edge and fascination with sex. All of a sudden Pulp had found an audience and oh how Jarvis Cocker loved to play to an audience!

Pulp released their first single away back in 1983, now in March 1994, they finally made the top 40 and a few months later they even made it to Top of the Pops to perform a re-released Babies.

There will be more about Pulp later.

Elastica enter the stage

Elastica formed in 1992, releasing a limited edition single, Stutter, in 1993, but then picked up a head of steam in 1994 with the release of the Line Up and Connection singles.

The importance of Justine Frischmann to Britpop can't be understated. Although it became very lad orientated, Frischmann brought a love story (and triangle) to the table. Justine quickly became a pin up. I certainly wasn't the only teenager in Britain to have her picture blu-tacked to my bedroom wall.

Elastica burned brightly, too brightly. They burned out from 2-years of constant activity and attention and a lot of books on the era, particularly John Harris' The Last Party, document guitarist Donna Matthews descent from a quiet Welsh indie girl to someone reliant on drugs to get through or waste the day.

Girls & Boys

Britpop went technicolour with the release of Blur's Girls & Boys in March 1994. It was pure pop; simple and ridiculously catchy. With lyrics like love in the 90's, it's paradise, on sunny beaches, take your chances it felt very much of the times and a spring release meant that it became a summer anthem for people going on holiday to ... Greece.

Blur were exceptionally prolific through the 90's, releasing a staggering 22 singles and 6 albums. The run of Modern Life Is Rubbish (93), Parklife (94) and The Great Escape (95) along with the singles released leaves me exhausted just reading it.

But back to Girls & Boys, this was real Britpop kicking in. The single reached number 5 in the charts. Britpop was set to go mainstream, Blur were set to go massive.

Stay Together

This somewhat inappropriately named standalone single by Suede was released in March 1994, the last single with Bernard Butler in the band. Suede would veer slightly off their initial course with the release of the Dog Man Star album in late 1994. Widely regarded by fans and critics as a real highlight, in late 1994 it was a marked contrast from the Britpop sound and look that was exploding around them.

I'm a big fan of Butler's guitar sound and playing on the early Suede recordings and Stay Together is one of the bands most commercial songs. It got to number 3 in the charts and it is noticeable that the singles subsequently released from Dog Man Star stayed around number 20 in the charts.

April 1994; 

- Kurt Cobain's suicide

- the debut single by Oasis and the Wibbling Rivalry interview

- Blur release Parklife

Looking back, March/April 1994 is a kind of pivotal time in the world of Britpop. So much happened to propel Blur & Oasis to the fore of a new 'movement'. Although Noel and Oasis would always distance themselves from indie & Britpop.

Why was it pivotal?

Blur took things up a notch with the aforementioned Girls & Boys, Oasis made their TV debut on The Word with Supersonic, Kurt Cobain overdosed in March and then tragically committed suicide in April, Supersonic came out, Oasis gave an interview a million miles away from anything Kurt Cobain ever did. They had a song called Live Forever that was the complete opposite of Kurt singing look on the bright side, suicide or naming a song (even ironically) I Hate Myself And I Want To Die and Blur released Girls & Boys and then their 3rd LP Parklife.

The death of Kurt Cobain on 5th April rocked my world. I've mentioned a number of times in previous blogs that I was at King Tuts to see The Pastels playing, rumours were abound that something had happened but in a pre-internet (indeed pre mobile) world you couldn't just check the news instantly. The Pastels came on stage and dedicated the show to Kurt, on the way home the Peel Show was just back to back Nirvana.

2-days later I saw Oasis for the first time.

I'd been into Nirvana in a big way, I had a ticket (that I still have) for their show in Glasgow at the SECC, but all of a sudden Oasis were calling me and they spoke to me in a way that Nirvana couldn't. Noel's early songs of dreams and escapism just lifted me.

Oasis were the band I was waiting for. In April 1994 they arrived with the release of their debut single, appearing on The Word and on Radio 1 for Glasgow's Sound City where I caught them supporting The Boo Radleys at the Tramway. You can read about that HERE

Later that night, Liam and Noel held court in their hotel room with John Harris from the NME, resulting in a hilarious insight into their relationship and personalities. This was not long after Oasis had been thrown off a ferry to Amsterdam for fighting. Noel was mortified and wanted Oasis to be about the songs, Liam was into the whole rock n roll package and totally up for it ....or as we quickly found out ... mad for it.

The interview was later released as a 7-inch single and it is absolutely hilarious. You can sense the edge between the 2 brothers, the edge that made them stand out from others.

I would look forward to Oasis interviews as much as their musical releases. So did the music weeklies and monthlies as they generated huge sales. Oasis and the Gallagher brothers brought a working class mentality and reality to the weekly music press and to music fans. There was absolutely no bullshit about them. They wanted it, they were going to have it.

On 25th April Blur released Parklife, a swift follow up to Modern Life Is Rubbish and on the back of Girls & Boys. Playing with more classic British imagery, the band took the NME to the dog track to discuss their sound and ambitions.

All of a sudden 'indie music' was going mainstream. More on Parklife in part 2. 

Staying Out For The Summer

T in the Park 1994

Britpop anthems kept coming and in July 1994 Dodgy released the impeccable Staying Out For The Summer single. Looking back, I'm amazed it only reached 38 in the charts! This was sunshine pop, feel good music to sing-a-long to immediately. Relatable to many with its lyrics of working in factories, being low on luck & confidence, of love lost and mourned, Staying Out For The Summer was perfect for the sunshine summer of 1994

You see I work in a factory (I need the money)

I don't want to be late (though I hate this place)

I got my debts to pay for (free me from this race)

They're gonna have to wait

Speaking of which;

The sun shone on the first ever T in the Park with Blur, Oasis, Elastica and Pulp all playing. Outside you had the Main Stage, in tents you had what felt like the here, the now, the future.

I was 18 and everyone I know that went to the festival wondered if it would even go on. It happened. Although I think I saw all the bands mentioned above, I only remember Oasis. They played to a packed tent and played football on stage. They were outstanding, I'd love to see footage of the gig if it exists.

Check some highlights from the first ever T in the Park HERE

Part 2 coming soon

Album tours

I found a recent tweet by Alex Kapranos from Franz Ferdinand rather amusing. Given the timing, Kapranos might have been referring to Suede who have just announced a European and UK tour of their 1996 album Coming Up.

Personally I love when favourite bands of mine focus shows on landmark anniversaries of classic or fan fave albums. Some don't even wait for an important anniversary, they are just getting out there. Although I totally understand where Alex is coming from.

For me, everyone is a winner; the band get to revisit a much loved album, maybe even playing some songs live for the first time. It might generate media interest and sales of the album or merch. They may even get to play larger venues than 'normal' due to demand.

Fans, know what they are getting, are prepared to pay for tickets and merch and have a good night out, while promoters are probably more confident booking a band if they know exactly what the band is going to play.

Galleries curate exhibitions of artists at certain periods, people celebrate anniversaries all the time ... why can bands not celebrate their catalogue of creative work?

A number of my favourite bands have played classic albums. Teenage Fanclub needed 3-nights to play their Creation albums from the 1990's. Primal Scream revisited Screamadelica in 1991 and blew me away both times I saw them on that tour. The Charlatans have revisited their debut Some Friendly and Tellin' Stories, while The Lemonheads have performed It's A Shame About Ray. I caught The Jesus and Mary Chain play Psychocandy in Glasgow and I very much hope to find a friend with a spare ticket to see them perform Darklands at the Barrowland in March.

I have also been extremely fortunate to watch Arthur Lee and Love perform Forever Changes and Brian Wilson and his band perform Pet Sounds. Typing that sentence sent tingles down my spine.

That's five of my favourite bands playing records I cherish plus two absolute legends playing incredible albums from the 1960's that generations afterwards have fallen in love with .

Meanwhile bands from The Wonder Stuff to The Twang have played shows of 'classic' albums. They might not be 'classic' to me, but they are to some. And that is what counts.

Kapranos followed his initial tweet with the statement below.

He is very probably right regarding the idea. Although at the same time he mentions that touring is a way of performing a body of work - surely an album qualifies as that. And most bands also play other stuff either before or after the album concerned.

And in terms of an album being a slice of creativity frozen in time....

I find that a very odd comment. Art, good art, is timeless. Hell, in the case of Screamadelica mentioned above, the album still sounds futuristic.

Kapranos has a point, but perhaps he has missed one as well. Classic art does capture a moment in time, whether that is a painting, a photograph or music. The birth of rock n roll, Elvis on TV, The Beatles on Ed Sullivan, the summer of love, Bowie on Top of the Pops, The Pistols, the rave scene, Britpop ... they are moments in time that mattered to people, moments in time that people will revisit via YouTube, old photos, albums, singles and by chatting to friends, or making new friends online as a result of these memories. Are they frozen? Or do they continue to inspire?

Think of albums; Sgt Peppers, Pet Sounds, Never Mind The Bollocks, Stone Roses, Nevermind ... they capture a spirit and a moment in time for many. Other bands might not have created albums quite so culturally significant, but they still meant something to someone out there - enough to go on tour.

If playing an album show  gets a band back together and out touring or playing a few dates and giving people a night out, making them happy .... good for them.

And what will happen if a promoter offer Franz Ferdinand good money to tour their classic eponymous debut album? The 15th anniversary is coming up! ;-)

Brian Wilson at Kelvingrove Bandstand, August 2017

Yes

Last week I was driving to work and McAlmont and Butler's Yes suddenly came blaring out of my stereo. What a slice of pure euphoric pop! Released in May 1995, this was Bernard Butler's first musical offering to the world since his departure from Suede in 1994 during the tense recordings of their second album, the dark Dog Man Star.

It is safe to say that Suede made a huge impression on the UK indie scene, so much so that they blew over into the mainstream. Their first 4 singles (previously blogged about here) were exceptional slices of guitar pop, full of hooks and riffs, but also full of intrigue and intelligence. Singer Brett Anderson and guitarist and co-singwriter Bernard Butler looked and sounded incredible and were quickly christened as the 90's Morrissey and Marr, making front covers, Top of the Pops, the Brits and gaining the stamp of approval from David Bowie.

Butler was a whirlwind on guitar, pacing around stages and studios looking like he was having the time of his life by wringing, shaking and hammering on his guitar for all he was worth. Anderson shaked, shimmied and looked like a classic front man from the off. What a duo, brilliantly backed by a super tight rhythm section of Matt Osman and Simon Gilbert. Girls ... and boys swooned.

They had a frantic 3-years of activity following the release of debut single The Drowners, it is little wonder there was tension in the band from all the writing, recording, touring and promo.

Butler left and went quiet. I think there were rumours of him joining various bands at times, but he surfaced with Yes and a partnership with singer David McAlmont. The two met in the Jazz Cafe in Camden and Butler was soon playing his new friend his first positive piece of music since leaving Suede.

And oh how positive it is, McAlmont wrote a verse but couldn't come up with a second, so Butler just told him to repeat the first with the duo hoping to commit something that could be held up as a classic single like those they loved from the 60's.

The official video, the full version has another minute on the end

McAlmont's lyrics match the positive surge of Butler's music. The strings soar and instantly sound euphoric, Butler's guitar crashes and provides a constant rhythm throughout, while seemingly simultaneously chiming and riffing.

The lyrics could easily be McAlmont's interpretation of whatever Butler told him about leaving Suede. The title, the simple Yes, is pure positivity, Butler has recovered from the dark post Suede months, he does look better and he does feel alright.

David McAlmont's vocal is exceptional and after a quick 1st verse that sounds like McAlmont relaying a conversation they are into the sky scraping chorus. The about me, about me, about me line that McAlmont yelps out is the perfect bridge into the chorus. Then they do it again for good measure, only they take it even higher and it sounds even better.

They hit the second chorus at 2-minutes and then repeat it again before leading to a stunning build up to a full on 2-minute climax. They take it higher, Butler's guitar is relentless, the strings are thrilling and McAlmont takes his vocals up a gear or three, the drums crash and pound and it all combines to sound fresh and vital, even 23-years down the line. It is timeless pop - epic, euphoric, sublime and soulful.

The song ends with it gradually breaking and slowing down into applause. I like to think that they simply couldn't keep the pace up or put anymore into it. They have played and sung their hearts out.

Enjoy the live version from Later with Jools below - look at Butler on guitar! And here is a link to the full, near 5-minute single version.

So you wanna know me now

How I've been

You Can't help someone recover

After what you did

So tell me am I looking better?

Have you forgot

Whatever it was that you couldn't stand 

About me, about me, about me?

Because yes I do feel better

Yes I do I feel alright

I feel well enough to tell you what you can do with what you got

To offer

Dedicated followers of music

The live music scene in Glasgow, at least to me, hasn't show any sign of being effected by the economic crisis that the country has been suffering for the last 5-years. Indeed, with the addition of the Hydro it seems to be growing from strength to strength.

We like to be entertained, even if times are tough, that is just another reason to go out and forget about reality, to get lost in music.

It does come at a financial cost though. I don't get out to quite as many gigs as I used to, although I still do pretty well!

I've become friends with a lovely couple called Gordon and Heidi; couple of music nuts who I bump into regularly at shows and who are big fans of the Vigo Thieves. I thought I would interview them to display just how dedicated people can be. 

I love their answers, they really highlight the passion of Scottish gig goers, not to mention the variety of musical taste and their dedication to going to live shows. It is people like Gordon and Heidi that generate such a good name for a Scottish audience throughout the world.

1. Can you introduce yourselves and tell us about some of your favourite bands and artists?

 I`m Gordon , 47 and I work as a Fork Lift Driver with William Grant and Sons . I have two kids from a previous marriage aged 24 and 22

I`m Heidi , 46 going on 25 and I`m originally from Weert in Holland although I`ve stayed here in Scotland for 10 years now . I work in Tunnocks right now

I like to think that my musical taste is pretty varied but if I pick the bands that I keep going back to listen to then it would be The Jam , Ocean Colour Scene, Bob Marley ( both in his ska and reggae days ) Biffy Clyro and Mr Johnny Cash . There are a few bands about today that might end up on the list eventually . Augustines , Kodaline , Kasabian and The Avett Brothers spring to mind

In my younger days I was into heavy rock , Black Sabbath , Iron Maiden and Judas Priest and I still listen to them . I`ve also always loved Journey . As I`ve mellowed with age I`ve found Biffy Clyro and the Arctic Monkeys , although Elvis will always have a special place in my heart as I grew up listening to him with my dad . Apart from “ metal “ Gordon and I have very similar tastes in music

2. Who, when and where did you see live for the first time?

Journey were the first band I ever saw live in Anaheim , California in July 1982 and I was pretty much hooked on live music right there and then . I worked backstage at various venues in Nevada for a while and it was a job that I loved .

The first band I saw live was The Jam at the Apollo in Glasgow in the early 80`s , I also used to go and see a friends band , The Druids, in Bellshill around that time as well . It made me aware that it wasn`t just big bands out there and that plenty of good music was available by watching unsigned local bands

As a couple the first band we saw was Dogs Die In Hot Cars at Balado in 2004

3. Do you have any idea of how many gigs and festivals you have been to this year?

I had to go and trail through our box of ticket stubs , we keep them all along with the setlists that Heidi manages to grab , and we make it 24 gigs and 2 festivals .

We always try for 2 festivals a year , Wickerman and something else .

4. What have been your top 5 musical highlights so far this year?

These are all in no particular order

Chic at Wickerman . If you were there then you will know why and if you weren`t or left early to go see Stiff Little Fingers then you really missed something special

Aye apparently this is the case and Heidi enjoys reminding me just how good they were after we left , my cousin and I watched 30 minutes and then scarpered up to the Scooter tent for SLF . I have to say that they were a bit of a let down

Watching Vigo Thieves playing a sold out gig at the Arches . We have followed this Wishaw based band for a long time now and we have got to know the guys really well , they are a cracking bunch of lads and when we first saw them at Maggie Mays it was in front of 6 people .

From that to the Arches was amazing , they deserve a bigger audience for certain . This year should be their year .

Ed Kowalczyk ( former lead singer of Live ) played King Tuts in September and it was incredible to see him there , I saw the band play years ago in stadium venues and to be there as he played such an intimate gig was a real highlight for me

I went to this gig for Heidi as I`d never heard of him but he put on a real show , when he played Lightning Crashes I had to laugh at Heidi standing with tears in her eyes.

We differ on the last two;

The Stone Roses at Glasgow Green for me , 23 years was a long time to wait 

Being asked to fake play the saxophone on stage with Vigo Thieves at Wickerman , just because it gave the weekend a right good giggle at the end 

Suede at The Barrowlands because it was a new experience  for me , I went because of Gordon as they weren`t that big in Holland and I had heard of a couple of their songs but that's all . They were absolutely fantastic .

Kings Of Leon at Bellahouston park . Last time we saw them they were going through the motions and had major problems within the band . This time they all seemed to be loving what they did again and the nailed the gig .

5. We are really in thick of gig season right now. What gigs have you been to in November?

Stereophonics ( Hydro) , Kodaline ( ABC ) , Deap Vally ( Oran Mor ) , Vampire Weekend ( Hydro ) Arctic Monkeys ( Hydro ) , The Lumineers ( Corn Exchange ) The Editors ( Barrowlands ) . This has been an exceptionally busy month for us

(It certainly has been!)
6. What do you have coming up in advance?
At the moment we have Australian Pink Floyd , Chrvches , Elbow , The Begbies and The Eagles booked for next year .

7. Do you have a special account for ticket money or anything?

We don`t really but we are lucky that we both work . We tend to be able to afford to go to whatever we want although we baulked at paying over a hundred quid each for Fleetwood Mac at The Hydro . We regretted not going for it almost immediately .

8. Is there anyone you haven't seen that you would like to see?

As I will never see Pink Floyd I`ll leave them out . Just now there are a few that we haven`t been able to go and see for one reason or another . Muse , Foo Fighters , Arcade Fire for me . We can add Pearl Jam and Metallica to those . In terms of venues I`d like to visit Red Rocks in Denver and Paradiso in Amsterdam.

9. What do you think of the music scene in Scotland?

(Answer for both)

The music scene in Scotland for touring acts is superb , there are plenty of great venues out there . It seems to us that plenty of bands want to come here because the crowds tend to know their stuff . There always seems  to be a huge difference in crowds from Edinburgh and Glasgow , east coast crowds tend to be less rowdy .

Venue wise we have more than our fair share of crackers . For us both nothing beats the barrowlands . The sound in there is always spot on and even though the place hasn't really aged well it still has a feel to it . The Vigo`s played there earlier this year supporting The Fratelli`s and I( Gordon ) managed to blag a back stage pass ( Cheers Murray ) and so I watched the gig from the side of the stage

The scene out there for up and coming bands is what they want to make of it . Glasgow has plenty of great small venues , Tuts , Nice and Sleazys , Maggie Mays , Broadcast and The Old Hairdressers to name but a few and they are all excellent for bands coming through . There are plenty of opportunities to get out and take in live music . Keep an eye out for a trio called Calm Fiasco , relatively new and sound pretty tight . There are no excuses for folk who love music not to get out there and take in gigs .


10. What have been your all-time 3 top gigs/shows that you have been to?

Pink Floyd in Rotterdam . It was Pink Floyd , 2 1/2 hours of musical and visual heaven . It felt

like being hypnotised en masse . An amazing experience .

Faithless at The Barrowlands in 2005 . I`d seen them 6 times before but we were almost at the front and the whole crowd just bounced for the entire show , it was special 

Bruce Springsteen in Holland in the early 2000`s . It was with the E Street band and the Boss is unbelievable . No visuals or gimmicks just the man giving it hell for 3 hours . His energy brings the crowd along with him .

Faithless at The Barrowlands in 2005 . Heidi won tickets via XFM and Maxi and Bliss just played their hearts out . I ended up shirtless at the front bouncing about like I was 19 instead of 39 . Insomnia is up there with the greatest tunes of all times in my opinion.

Sigur Ros at Connect in 2008 . Its hard to out this gig into words . Sigur Ros are a musical orgasm , just an incredible noise from them . The setting of Inveraray at dusk with a low sunset lighting up the background made it even more special . It was as close as I`ve come to a religious experience at a music event , it felt as if no-one else was there other than Heidi , I and the band . (I was at this and have to agree that it was very special)

Stone Roses at Glasgow Green June 1990 - June 2013 , The later gig felt like a continuation of the previous one , except we had all aged considerably .

11. Is there anything you dislike about going to live shows?

People too drunk to know where they are and people throwing pints . Why someone would pay that sort of money to be blitzed and not remember the experience is nothing short of a mystery to me  . Anyone throwing drink is just a prick , excuse the language , I can`t add anything to that .

Excessive use of camera phones , people using camera phones and camera phones . Put them away and just enjoy the gig , for Gods sake . Drunks and by that I mean the same as Gordon. Ticket prices are sometimes steeper than they should be
12. Who would you like to see play;

a) The Hydro
b) The Barrowlands
c) King Tuts Wah Wah Hut

a) Muse for me . Metallica for me

b) Augustines , the Barrowlands would suit them down to a tee . I`d like to see Kasabian in here 

c) Anyone , Tuts is a special place no matter who plays it

Together we love music , it keeps us young . We`ll be gigging in our 70`s if we are still here

Why would we ever stop ?