If it’s any use, my favorite Britpop records are as follows:
Dog Man Star by Suede
Elastica by Elastica
Everything Must Go by Manic Street Preachers
Lovelife by Lush
Modern Life Is Rubbish by Blur
The Stone Roses by The Stone Roses
In It for the Money by Supergrass
Urban Hymns by The Verve
Nice! Just thinking of my own list. Modern life is Rubbish and in it for the Money would definitely be in my top 10 Britpop picks. I've never thought of Manics as Britpop but I guess a lot of people see that album in that way. I need to check out that Lush album as it completely passed me by in the 90s.
Did britpop have much impact in the USA at the time? I know Oasis were popular but other than that I'm not sure.
Americans know Blur, The Verve, and Oasis a little too well (not in depth, see later). I literally remember zero of anybody I knew ever owning an album of theirs though.
Again, I feel like they had the impact pop punk did. Most saw them as hit wonder type bands and I feel they have since faded away since these songs came out. Having said that they play these songs constantly on the radio and in American media (TV/Movies, etc.) ALL THE TIME... still.
Americans can't get enough of these songs for some reason (culture at large... many individuals wish they could stop hearing them).
Is Everything Must Go by Manic Street Preachers anything like The Holy Bible? That album I actually got into a bit.
To an extent. After the changes in the Manic Street Preachers following Richey Edwards’s disappearance, the band moved away from their more experimental and dense songwriting to something different. I think both “eras” of Manic Street Preachers are excellent and that Manic Street Preachers drift to Britpop and other musical expressions was a good move instead of trying to replicate what Richey Edwards brought to the table. I would say Everything Must Go (and the albums that directly followed) took a more anthemic approach.
sethmadsen wrote:
Again, I feel like they had the impact pop punk did.
So extremely influential to the point they inspired a whole generation of musicians during the decade that followed? Yeah, that’s pretty true.
sethmadsen wrote:
(imo this sounds like american grunge, not britpop, by the way)
Then you have no idea what Grunge sounds like.
Last edited by mickilennial on 01/06/2018 21:05; edited 1 time in total
* Stone Roses S/T is not Britpop
* Blur's 13 is not Britpop
* La's S/T is not Britpop
I think some of you are labouring under the false impression that any British guitar-led 'indie' record released in the early-mid 90s is "Britpop", which of course is nonsense. Britpop had a defined 'start' and 'finish' which I had a stab at defining if you want to have a butcher's...
My feelings on this are entirely the same as Graeme's - grunge felt to me like Nirvana, then a bunch of hard rock also-rans. Having lived through Britpop as a student I was totally hooked until the booze wore off, and now I look back on it with less-than-rose-tinted specs. Acts like Ride, Lush and The Verve sold their shoegazy, dream-pop souls and produced utter dross (although "Bitter Sweet Symphony" is a corker - no denying it). Suede's Dog Man Star is the LP I really feel for - a bold artistic statement, internal tensions, romance and decadence... but then the Loaded generation take over and they disappear up their arses with the tripe that is Coming Up.
To an extent. After the changes in the Manic Street Preachers following Richey Edwards’s disappearance, the band moved away from their more experimental and dense songwriting to something different. I think both “eras” of Manic Street Preachers are excellent and that Manic Street Preachers drift to Britpop and other musical expressions was a good move instead of trying to replicate what Richey Edwards brought to the table. I would say Everything Must Go (and the albums that directly followed) took a more anthemic approach.
So extremely influential to the point they inspired a whole generation of musicians during the decade that followed? Yeah, that’s pretty true.
Then you have no idea what Grunge sounds like.
I realized my placement of my statement after the video could confuse people to think I was talking about The Verve song.
Lyrically sure, it has little to do with Grunge, but musically it sounds more like grunge than anything else they wrote and remove the vocalist and it sounds a bit like a song Nirvana could have written (a mix between Molly's Lips and Breed). Similar bass fuzz, similar dynamics of the song like Smells Like Teen Spirit (soft then explosion). To say there are zero similarities is false. Are they 100% the same, absolutely not, the song simply has more in common with American Grunge than their song Boys and Girls.
RE: MSP... so sound like they have less meat in the britpop era?
Gowi wrote:
So extremely influential to the point they inspired a whole generation of musicians during the decade that followed? Yeah, that’s pretty true.
You could say that about almost any major genre. I suppose what I mean is I would equate American Pop Punk with most Brit Pop music. Brit Pop totally has the upper hand, but it is nearly the same quality of music, imo. Nu-Metal I'm sure had a great influence and blah blah blah, but that doesn't mean it wasn't mostly garbage compared to Grunge.
And again - I'll just use this site as my reference to why I'm saying this. Please find a Nu-Metal band in the top 10 artists. Please find a Brit-pop band in the top 10 on this site.
As I also stated, but also could be confusing because I said it otherwise as well. Meaning the band can be seen as britpop, but that album definitely has elements outside of it... which is probably why I like it so much.
My feelings on this are entirely the same as Graeme's - grunge felt to me like Nirvana, then a bunch of hard rock also-rans. Having lived through Britpop as a student I was totally hooked until the booze wore off, and now I look back on it with less-than-rose-tinted specs. Acts like Ride, Lush and The Verve sold their shoegazy, dream-pop souls and produced utter dross (although "Bitter Sweet Symphony" is a corker - no denying it). Suede's Dog Man Star is the LP I really feel for - a bold artistic statement, internal tensions, romance and decadence... but then the Loaded generation take over and they disappear up their arses with the tripe that is Coming Up.
Abstained.
I can very much agree with this statement.
It's also why I feel like Grunge is really a regional term for alternative rock in Seattle. Not much more not much less.
Last edited by RoundTheBend on 01/06/2018 21:27; edited 1 time in total
* Stone Roses S/T is not Britpop
* Blur's 13 is not Britpop
* La's S/T is not Britpop
I think some of you are labouring under the false impression that any British guitar-led 'indie' record released in the early-mid 90s is "Britpop", which of course is nonsense. Britpop had a defined 'start' and 'finish' which I had a stab at defining if you want to have a butcher's...
My feelings on this are entirely the same as Graeme's - grunge felt to me like Nirvana, then a bunch of hard rock also-rans. Having lived through Britpop as a student I was totally hooked until the booze wore off, and now I look back on it with less-than-rose-tinted specs. Acts like Ride, Lush and The Verve sold their shoegazy, dream-pop souls and produced utter dross (although "Bitter Sweet Symphony" is a corker - no denying it). Suede's Dog Man Star is the LP I really feel for - a bold artistic statement, internal tensions, romance and decadence... but then the Loaded generation take over and they disappear up their arses with the tripe that is Coming Up.
Abstained.
Yeah, Lush’s change from their dream pop/shoegaze bliss to do a Britpop record is definitely odd, but I still think it is a good record that I keep coming back to.
And as for the definition of Britpop, I’ve read a lot of enthusiast’s retrospectives on the genre and they still put emphasis on these records that inspired (such as The Stone Roses’ self-titled) or deviated from the formula (such as Blur’s 13) as being within that Manchester Sound. Genre is fluid, always shifting, so I’m not sure why those labels are a bit wrong. But then again I’m the guy who hates it when people call bands genres that didn’t exist at their time, so I guess I’m a hypocrite.
Denim-Back in Denim(1992)
Blur- Modern life is Rubbish (1993)
Suede-Suede (1993)
The Auteurs- New Wave (1993)
Pulp- His 'n' Hers (1994)
The Divine Comedy-Promenade (1994)
Supergrass-In it for the Money (1997)
Super Furry Animals-Radiator (1997)-might not really be Britpop but I like it a lot
Pulp- This is Hardcore (1998)
The Charlatans- Us and Us only (1999)
These are some of my favourite Britpop albums. Some I grew up with and some I've come across retrospectively. Yeah, there was a lot of stodge, but some very good stuff too. Revisiting this era, I think that the most interesting and distinctive albums were the earlier ones for their mix of Glam Rock with darker lyrical themes. I've put these albums in bold. I think Britpop got more generic after this. The one album I consider really outstanding is Back in Denim though this arrived too early and didn't sell. Its one of my favourite albums of any genre though.
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