What is BritpopWhat's Britpop?
? Ordinary Pulp Indo Britpop | News
What was the real Britpop anthem? Approximately 30,000 listeners in the UK answered the BBC's Radio 6 Music question and decided that more than a few pieces of Blur or Oasis, then considered masters of the genre, were (and are) "ordinary people" of Pulp.
On the album "Different Class", Pulp's lyrics to "Common People" told of a girl singer Jarvis Cocker had met during his studies at Saint Martin Art School; the girl from a wealthy family referred to Jarvis who wanted to live in London's East End to be with the "Common People".
"It' s one of the records that best embodies Britpop because it captures the essence of the time perfectly," said DJ Steve Lamacq, who on the frequencies of the BBC - with Jo Whiley - directs a week of celebrations to the twentieth anniversary of Britpop. Britpop Anthem: "Girl from Mars", Ash.
Fade against Omaha, the battle without a winner for the throne of British Pop.
"The Battle of the Bands", "The British Heavyweight Challenge". Volume, Blur e Oasis. At least to wonder why there was so much hoopla about two bands that nobody knew until a few years ago? This guy is called Brett Anderson and he is the head of a British group called Suede: "Yanks go home", he reads the subtitle "Americans, come back to your house".
Until the year before, because Justine was now the head of a new group named Elastica and the girlfriend of Damon Albarn, then unknown singer of an unknown London group called Blur, who recorded his third record. Blur take this emptiness and a genre that the British press almost simultaneously calls British Pop, and in fact define it as a derived genre inspired by the Beatles, Rolling Stones, Who, Jam, Smiths, David Bowie, Roxy Music, Stone Roses and everything else that existed previously in English music.
What holds together the Blur and all the other groups that are springing up like mushrooms at this time is the search for the perfect chorus, the real obsession, much more than riffs, solos, virtuosities, rage, political and social messages, from Alright of Supergrass ("We are young we are free") to Disco 2000 of Pulp ("Let's all meet up in the year)").
None of the other bands seems to have the magic touch of Blur, Albarn and his choir like girl and boy ("girls who are boys who lik girls") and park-life ("All the folks). Noel Gallagher comes from Burnage, a suburb of Manchester, and goes from one job to another in a country, the north of England, marked by a long decade of Thatcherism.
Guitarist and composer of songs in a continuous stream, each with a perfect choir, able to slip into the listener's head and never come out. He also has a younger and, if possible, more unsuitable brother named Liam. He would be the perfect loser, Liam, if there wasn't a vocal timbre that seems to be specifically tailored to the songs written by his brother.
Both Noel and Liam have a group named Oasis who made their trade debut on August 29, 1994, four months after PD, and thanks to perfect choirs like Perfect Forever (Maybe I don't really know wanna) sold even more copies, about 2.1 million.
A Blur versus an Oasis: record companies are happy, including the medium. But Noel and Liam, by good tyrants from the provincial pubs, never miss an opportunity to provoke and mock Albarn, Londoners and pussies from art schools. Noel Gallagher's wish, for example, that Albarn and Coxon should develop AIDS is sufficient.
Albarn, who is very competitive and sensitive to himself, takes it personally. Both groups are preparing their next album, the Weihealbum. Blur's first single should have been released fifteen days before, but it's Damon who blames himself and shifts the date so that it matches the one in which Oasis' single is released.
The day of the battle of the bands, in fact. Albaarn wants to win, and he actually wins. Because the Oasis single is more programmed on the radios. However, during The Great Escape, Blur's album has no other big arrows on the bow, except Charmless Man ("Nanna nano nano nano nano") and The Universal ("It really really could happen") Oasis's album has an impressive amount:
Oasis become the most famous group in the world. The consecration took place a year later, about a year after the Battle of the Bands, on August 11, 1996, when the Oasis played in Knebworth in front of 250,000 people, the largest paid concert in history. Blur won the battle, but Oasis won the war.
In retrospect, Albarn will see that they were better, the oasis that knew who they were and what they meant. So while Great Britain is beginning to become the Cool Britain of Tony Blair, but also of directors like Danny Boyle and Guy Ritchie, of models like Naomi Campbell and Kate Moss, of artists like Damien Hirst - who also makes the Country House tape for the record - the front man of Blur completes his personal big escape.
A metamorphosis not without traumas: His relationship with Frischmann is in crisis because he wants her to leave the group and give him a son while she doesn't even think about it. It' a metamorphosis that the next Blur album of the same name, released in early 1997, tells us perfectly.
The first single, Beetlebum, clearly talks about his new addiction. Blur" is above all a dark and nocturnal record, the result of long journeys to Iceland, full of ideas, but without renouncing murder. There is no competition with the new record of Oasis, surrounded by a spasmodic waiting that sells 420 thousand only on the first day of release, August 21, 1997.
"This title is recorded in studios where, as the band's executive Alan McGee tells us, "cocaine flowed wild". Wanting to do a colossal job, Noel Gallagher turns out to be a disc that is as demanding as it is listless. There are tracks like "All around the word, wanna alter the world" for nine minutes and a coda reminiscent of Beatles' Hey Jude and embarrassing singles like "D'you know what I mean" ("All my folks, right here, right now..."), which is built on the same chord circles as Wanderwall.
Like a morning erection, the inspiration of the oasis also proves to be a flash in the pan. That same summer, "Urban Hymns" by Radiohead's publisher,Verve and " Ok Computer" by Radiohead come out and immediately dethrone Noel Gallagher, who in the meantime had devoted himself to megalomaniac statements such as "we are more famous than God", the king of British skirt.
The oasis will never recover from this blow. Blur, especially Albarn, will continue her great escape from the mains with experimental records such as 13 and Think Tank, with successful parallel projects such as Gorillaz - a cartoon group - and strange projects such as a classical musical work dedicated to John Dee, doctor and scholar at Elisabeth I's court.
When they return to the front page, they are more retrospective questions about that three-year period in which Noel and Damon claimed the throne, in which journalists, like old veterans in the grip of post-gold age vintageism, wonder who really won the battle of British popular music. Some say that they have won the Oasis, which although they were for a short time the most famous group in the world.
And who says he won the Blur because he inspired more than just competitors of generations to come? Maybe they're the only ones who don't care anymore, Noel and Damon, who apparently also made friends and managed to play a song together for a charity event two years ago.
It was a bid, it was Blur's, and it was dedicated to the end of the story between Albarn and Frischmann.