Britpop : Time For Reevaluation?

I am not saying I dismiss all music from that era (for instance, Crowded House and Jellyfish made their best records then)

But out of the ones you mention Primal Scream, and to some extent Massive Attack, are the only ones I like. Generally the 87-91 era was too much about rhythm and noise and not enough about melody and harmony.

Dodgy never changed their musical style. Blur did. Blur more or less "invented" Britpop on "Modern Life Is Rubbish" (although Suede should get some credit for that too)

As for Pulp, well, maybe they weren't really Britpop. In fact, they were just playing the kind of Bowie/Roxy Music-influenced style that was so popular when they started out in the mid 80s, and for some reason they never broke through until that kind of music became fashionable again because of Britpop.

Someone may already have asked this but do you tap your foot or nod your head at all when you listen to music? If so, why?

(I am playing find the unconvincing, hastily concocted pseudonym)

Your definition of what was "really happening" in the mid-90s couldn't be any more Britpop if it tried...

'87-'91 was for me the most exciting time for music in my lifetime in terms of innovation and experimentation, perhaps not so much melody and harmony and quality MOR/AOR (tcha, big loss eh?). Geir's conviction that melody and harmony are automatically superior to rhythm and noise by definition do not match my own views obviously.

the way the big dance-based acts are attached to the Britpop concept is irritating, partly for me because i felt it was very much a 'them and us' conflict that prevailed throughout most of the 90s i.e. there were indie kids and there were ravers and never the twain shall meet, until the Chemical Brothers broke thru i guess. it was good that the likes of Tom n' Ed broke down that pathetic barrier but it always felt like it was more a case of the rockist indiekids finally starting to 'get' dance music rather than ravers discovering guitars (dare i say the dance fans were that bit more open-minded, given they were into what was genuinely a new thing? i would but its a horrendous generalisation on both counts)

Balls. That whole rock/dance thing was dead and buried by 92 - I remember bumping into loads of the britpop lot on the Brighton scene in '91 - and going to Trance Europe Express a bit later. The line was totally blurred - especially as britpop came out of Sarah, to some extent, and most of the Sarah fandom were loved up by the turn of the '90s (at least round my way).

the tone seemed weirdly spiteful, beyond all other considerations.

Is it the geyser who played guitar for Motorhead?

If so, he looks to me as if the requirements of his lifestyle actually require extremely substantial subsidy.

http://www.nolifetilmetal.com/images/motorhead_wurzel.jpg

Albeit briefly.

I clicked on the link, but I couldn't be arsed to read the article, I'm afraid.

haha, pash, i didn't actually read it either!

What did they make of the latest Sleater-Kinney album?

(xxxx-post)

I can't really think of anything to say about it, though.

Hahahahahaha

The drummer from dodgy just complained about being grouped in with Menswear and Sleeper. Hahahahahaha

Hahahahahaha

oof, haha.

that athlete single, as mentioned at the end of the harris piece, ir really fucking bad.

'At the end of the day it's just whether it was good music'

The drummer from dodgy is a rockist!

I thought that myself.

Well, that and the fact that the EQ's absolutely dreadful.

(x-post)

From the youngsters who've just learned to shave
to the oldsters raving on their graves
it's the same old story, England's glory,
claiming back the union jack, my arse!

Far more so that I was of Menswear or Sleeper anyway.

x-post - the shame of admitting it, but that "water under the bridge" tune they did was pretty nice IIRC.