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Bagsy last spot! Finding a song!
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Mar 26, 2015 21:10
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Guys, stop posting songs I want to use 
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Mar 26, 2015 21:13
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I've had the best idea
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Mar 26, 2015 21:18
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King Burgundy posted:Man. I've been thinking of possibilities for my song and I'm just spoiled for choice. I feel like I want to keep playing this game over and over until I get to use them all. It's ok, yours won't be as good as mine so don't worry about it
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Mar 26, 2015 21:30
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This is such a great song Asiina, how could you hate this?
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Mar 26, 2015 21:43
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1999 was amazing. https://www.youtube.com/watch?v=kIDWgqDBNXA
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Mar 26, 2015 21:51
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Holy poo poo Christina Aguilera got so old
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Mar 26, 2015 21:51
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https://www.youtube.com/watch?v=jBmkCoiHC2cAsiina posted:And if you wanted to have a song for yourself you'd have to wait for it to start and then record it onto the cassette and then the loving DJ would talk over the beginning of the ending and ruin the whole thing!!!! Oh my god this makes me feel so old 
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Mar 26, 2015 21:53
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https://www.youtube.com/watch?v=X28-olxweYkAsiina posted:Goddamnit Rarity! You snooze you lose
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Mar 26, 2015 21:56
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I never heard this song till this year but it's beautiful https://www.youtube.com/watch?v=eW_zqMdpCn0
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Mar 26, 2015 21:58
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https://www.youtube.com/watch?v=UvjLgjtJKsc
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Mar 26, 2015 22:00
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Literally one of the best songs ever https://www.youtube.com/watch?v=lwlogyj7nFE
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Mar 26, 2015 22:01
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This is the first song I ever owned https://www.youtube.com/watch?v=qM5W7Xn7FiA
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Mar 26, 2015 22:04
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All of you need to click this link right now https://www.youtube.com/watch?v=h37KQu64RY4
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Mar 26, 2015 22:06
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Rurea posted:way too much posting going on. calm down everyone https://www.youtube.com/watch?v=bcLzM3wvDeo
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Mar 26, 2015 22:10
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Oh god now I'm missing 90s Saturday kid TV. Live and Kicking before it went to poo poo. SMTV before Ant and Dec went off to be "proper" presenters.
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Mar 26, 2015 22:12
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^^^ That song is the worst https://www.youtube.com/watch?v=PqBEi2vfxAs
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Mar 26, 2015 22:16
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Asiina posted:Despite the album being called The Sign and everyone remembering that song the most, this was actually my favourite song off of it. Wrong opinion spotted https://www.youtube.com/watch?v=d73tiBBzvFM
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Mar 26, 2015 22:18
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Di di danana! https://www.youtube.com/watch?v=8DNQRtmIMxk
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Mar 26, 2015 22:20
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https://www.youtube.com/watch?v=kt3vZYkMB5I
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Mar 26, 2015 22:26
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https://www.youtube.com/watch?v=9BMwcO6_hyA
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Mar 26, 2015 22:28
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The most  songhttps://www.youtube.com/watch?v=TR3Vdo5etCQ
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Mar 26, 2015 22:34
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Asiina posted:Goddamnit, I thought it was 90s but youtube was saying 2003. Youtube is wrong, both the songs we linked were 1995
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Mar 26, 2015 22:43
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Asiina posted:I'm going to win the music contest and ensure that nobody new joins this game and then laugh at all the spectators. I'm going to win the game and then give the prize to busb, cause I'm a nice person!
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Mar 27, 2015 01:22
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Confirming my lack of confirmation
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Mar 27, 2015 02:13
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This is not the deathproof role I expected, Byers 
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Mar 27, 2015 02:58
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Pinterest Mom posted:I have a one shot super cop that gets triggered by someone telling me they love me. Anarc is town. PMom is this a serious post?
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Mar 27, 2015 09:24
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I'm trying to think of a context that will let me post this song and I just can't  https://www.youtube.com/watch?v=wv-34w8kGPM
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Mar 27, 2015 09:28
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What makes it a super cop rather than a cop cop?
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Mar 27, 2015 09:42
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Pinterest Mom posted:You were in Secret Invasion you know the distinction between cop and super cop I thought so but I wanted to be sure that's what you meant
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Mar 27, 2015 09:59
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Give up people, I've already won
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Mar 27, 2015 13:20
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Oh god I could literally make 5 of these. I've got my lineup picked out though, prepare to be blown away.
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Mar 27, 2015 23:15
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Ok, so figuring what I wanted to do with my mixtape was a huge challenge. The first thing I knew was that I wanted to have some kind of overriding theme, it couldn't just be "oh, these songs are awesome". It also had to be personal, music that meant something to me. In the end, it didn't take long for me to come up with my chosen theme. I'm a child of the 90s, I grew up in a rundown suburb of London filled with the lower middle class. There's only one kind of 90s music that speaks to me, that stands for who I am and where I come from. And here it is, all the essential bands, all the essential tracks, all the essential culture. This is... Please note: some songs have been cut for length, this is noted when applicable SIDE A 1. Depeche Mode ~ Enjoy the Silence (#6, 5th Feb 1990) To know where you’re going, first you must know where you’ve been. Towards the end of the 1980s, traditional indie was a failing genre in the UK. Bands like the Smiths, the Pixies and the Stone Roses had been popular for much of the decade but towards its end their star was waning, replaced by artists delving into synthpop and electronica, such as New Order and Erasure. As the door closed on the 80s and rose on 1990, these artists still rode high at the top of the charts. Another group at the forefront of this genre was Depeche Mode. Formed in 1977, Depeche Mode were active throughout the 80s. While their highest popularity was in the early 80s, this surge in popularity for electronica saw them regain some of their former glory. It also brought about some of their most classic work, in particular the downbeat chill of “Enjoy the Silence.” Filled with haunting synths over thematically sparse lyrics, “Enjoy the Silence” was a song of stillness. It would also turn out to be the quiet whispers of a genre that had unknowingly reached its end. As TS Elliot once wrote, “it ends not with a bang but with a whimper”. It would be unfair to characterise “Enjoy the Silence” in such a way, but it is certainly true that the music of the 80s passed away without making noise. And after hearing this song, it’s impossible to imagine it any other way. 2. Blur ~ There’s No Other Way (#8, 15th April 1991) While it was not their first single (“She’s So High” was released in late 1990 and hit #48 in the chart), “There’s No Other Way” was the song that announced Blur’s arrival on the music scene. Formed in 1988 during their time at Goldsmiths College, Blur was the brainchild of lifelong friends Damon Albarn and Graham Coxon, who met Alex James and David Rowntree during their time in studies. In itself, “There’s No Other Way” does not seem like the coming of a whole new genre. Different to other music of its era, certainly, but still closely tied to the bands of the 80s that were already on their way out. And in truth, this song was not a revelation. Bands did not pop up overnight inspired by its sound, Blur were not heralded as the faces of a wave of new artists. No, the road to Britpop would be longer and harder than that. Following “There’s No Other Way”, Blur struggled to match the success of their breakout hit. Their debut album would be met to mixed reviews and a sense of disappointment. Their singles would chart poorly. Attempts at reinvention would be met with disinterest. It would take three years and the riotous “Girls and Boys” to put Blur at the centre of the music scene. But while the band would go on to release an excessive number of hits as Britpop dominated the charts, “There’s No Other Way” will always stand as a reminder of a time when Blur were just four young men who simply wanted to make music. 3. U2 ~ One (#7, 6th March 1992) By 1992, the UK music scene was in a state of transition. Electronica had had its time, Blur were struggling to find an identity unique from their predecessors, the charts were dominated by the new flavours of the day, predominantly hip-hop and trance as social change opened up urban music to a whole new market. Time then for the masters of rock to take centre stage. Make no mistake, U2 are not and have never been Britpop. Active for more than a decade before the 90s began, U2 were proved practitioners of stadium rock by the time “One” was released. However, their work would go on to influence some of the biggest bands in the genre including Oasis and the Verve. And when you listen to “One”, it’s easy to see why. With its soaring vocals and gentle chords, “One” is a song made for closing out main stages at festivals. It’s a track that bears all the hallmarks of band in their prime, confidence running high on the back of a string of number 1 albums. Forget about Britpop, this was where all bands wanted to be. 4. Pet Shop Boys ~ Go West (#2, 6th September 1993) (cut off at 4:24) While their synthpop compatriots fell by the wayside in the early years of the 90s, the Pet Shop Boys would continue to enjoy success throughout the decade. Unlike U2, their music cannot be credited with influencing Britpop. However, their cover of one of the Village People’s less famous songs remains a vital step on the road to its birth for one essential factor. Politics. Mixing music with politics was nothing new, of course. In the UK, punk had blown up by raging against the establishment. Bands like the Specials continued that trend in the 80s with their depressing commentary on Thatcher’s Britain. Across the pond, Zack De La Rocha was achieving similar success with Rage Against the Machine. However, “Go West” remains notable for introducing to the politics of the 90s. The world had changed since the days of the Sex Pistols. Margaret Thatcher’s time as Prime Minister had given way to the less aggressive but more depressive time of John Major. Just before the start of the 90s in Europe the Berlin Wall had fallen, breaking down the boundaries between East and West. The USSR has dissolved into Russia and a collection of smaller nations. “Go West” took a harmless disco track and applied it to this new climate. In a video filled with explicit imagery (the very first shot is the Statue of Liberty), “Go West” became a celebration of this victory over communism. While hardly the most controversial of messages, this was still the first acknowledgement from the music scene that the world had changed, an acknowledgement that would be essential for Britpop to flourish. 5. Blur ~ Girls and Boys (#5, 7th March 1994) (cut in at 0:24, cut off at 3:50) So here it is, the true birth of Britpop. After three years of failing to live up to their original promise, Blur stormed back into the spotlight with the first release from their third album “Parklife”. Finding a new identity in their embracement of the 90s pre-chav ‘lad culture’, Blur came up with a song that celebrated the plight of the modern generation. It was all an act, of course. Damon Albarn’s songwriting ambitions always extended beyond the simple frustrations of Essex living and Blur would soon move on from the parkas and Reeboks. Even so, despite that inauthenticity “Girls and Boys” still connected with the youths of Britain, giving them a voice in music that up till now had been ignored. In the dying days of the Tory regime that had been passed to John Major it was the young that were suffering the most. Thatcher’s policies had not only held back the working class, they had also dealt damage to the poorer sections of the middle class. Children who had been brought up in affluence in the 70s were now facing poverty as they turned into adults. At the same time, the aggressive movement of second-wave feminism had caused a backlash from both men and women. It was from these roots that lad culture grew, a culture where working class attitudes expanded to the masses. Epitomised by popular men’s magazines like FHM, Maxim and Loaded, lad culture was about men being men. It was booze, fags, footie and shagging. It was Club Med and Ibiza. In fact, the video for “Girls and Boys” showed the band performing in front of clips from a Club 18-30 documentary. And that was where Blur found their success, by showcasing both the highs and the lows of this forgotten generation. Simultaneously celebrating lad culture’s excess while dwelling on its abandonment, “Girls and Boys” resonated with and inspired the bands that would come to form the bulk of the genre in the following years. Britpop had arrived. 6. Oasis ~ Roll With It (#2, 14th August 1995) On Monday 14th August 1995, record stores around the country stocked the shelves with the latest singles, just as they did every Monday. However, this was not like any other Monday, because on this day two singles of momentous significance were put out for sale. The first was “Country House” from the trendsetters of Britpop, Blur. The second was “Roll With It” from their natural rivals, Oasis. Blur and Oasis had spent the last 18 months circling each other in the charts. The two most successful bands in the genre, each could boast a string of hits to their name. This was the first time they’d come into direct conflict. “Country House” had a breezy, poppy vibe. “Roll With It” was heavier, dirtier, a throwback to songs of years past. But this contest was about so much more than the music. Hailing from Manchester, Oasis were steeped in a North that had suffered tremendously under Thatcher’s government. Blur, on the other hand, had their roots in the middle class. Despite their earlier attempts to be ‘one of the lads’, their voice was one of privilege, a stark contrast to the downtrodden lives of their rivals. The ever forth-minded Gallagher brothers were not quiet about this distinction. Indeed, this was not just about music. This was a clash about the socio-economic climate, the North-South divide given tangible form. Everyone had a side, you couldn’t sit out on this one. Sales figures were updated in the news throughout the week, arguments filled playground and pub alike, friendships were torn apart as each side set out to prove that their way of life was better. Until finally on Sunday millions tuned into Top of the Pops to see which side had won. In the end Blur took the honours (naturally, the middle class has more money) but “Roll With It” is the superior track. It may not reach the heights of Oasis’s greatest hits but it is an essential record from a time where music represented the struggle of a nation. There have been other famous chart battles, both before and since, but none will ever mean more. 7. Pulp ~ Mis-Shapes (#2, 25th September 1995) (cut in at 0:30, cut out at 4:15) The biggest name on the roster for the 1996 BRIT Awards was undeniably Michael Jackson, who had been booked to play his epic track “Earth Song”. This was a pop star at the height of his powers, an American superstar that was a big coup for the ceremony. The performance was as grand as was to be expected. Everything was running perfect. That is until one skinny Englishman ran up from the crowd, stood in front of Jacko, pulled his trousers down and bared his butt to the nation. A nation that would react with its typical middle-class outrage. The moment would fill the headlines the next day, the act being decried for its impropriety. But for the skinny Englishman in question - one Jarvis Cocker, lead singer of Britpop stalwarts Pulp - this was just another day of fighting against the establishment. While Blur and Oasis dominated the charts through 1994 it takes more than two bands to claim a genre. It was in the early months of 1995 that Britpop truly took off with the sudden arrival of “Common People”, the track that thrust Pulp in stardom. But while Oasis saved their bite for the journalists and Blur could never really be part of the culture they rode to success, it was Pulp who put this attitude into their music. This was Britpop with edge. Pulp were not new players on the indie scene, the band had been performing since 1983, but it was the rise of Britpop that took them into the mainstream. In the same way that Blur’s Club Med image and Oasis’s genuine voice spoke to the young generation, Jarvis Cocker’s outspoken lyrics said what thousands were thinking. Nowhere are these opinions more clear than on “Mis-Shapes”. Released as the second half of a double-A side single (a common practice in the 90s), “Mis-Shapes” is a rallying cry to a legion of outcasts. These were the ones who had been abandoned by the Tory parliament, the ones who had been brought up with grand promises only to find themselves on the poverty line once they hit adulthood. This wasn’t lad culture though, instead Pulp spoke to a different kind of youth, one who was intellectual and introverted yet no less neglected by the establishment. This connection was the spark that ignited Britpop’s appeal, showing that the genre could be about more than just lads. It didn’t hurt that “Mis-Shapes”, as with all Pulp’s tracks of that time, was an absolute riot of a song that was just as suited for those who were already fans of Oasis and Blur. Pulp would never quite capture the success they enjoyed in 1995 but it didn’t matter, they had opened up Britpop to any who wanted to join and a rush of bands were about to accept that invite. The golden age had begun. 8. Garbage ~ Stupid Girl (#4, 5th February 1996) By 1996, Britpop was in full swing. As well as its heavy hitters, a whole host of new bands were assaulting the charts. Names like Cast, Ash and Suede were creating their own legacies. There was just one problem though: where were the girls? It should come as no surprise that it took women time to break into the Britpop scene. The lad culture that had spawned the genre was not accepting of women as more than sex objects, they would not allow them to be part of ‘their’ genre. It was going to take a girl with attitude and fight to break down those barriers. Into this frame stepped Shirley Manson, lead singer of Garbage. With fiery red hair and an alternative style, Shirley Manson embodied a new phenomenom, the ladette. Rising out of the 90s post-feminist movement, ladettes were girls who combined femininity with the loud and rowdy attitudes of the lads. They could out-drink the boys and look good while they did it. Some would say that Garbage weren’t part of the Britpop genre, their sound too grungey to be included. In truth, Garbage are an essential component for what they started. Their most successful track, “Stupid Girl” was a snarling tirade against this very culture, quite possibly against Manson herself. And just like Manson, it was a song so powerful it refused to be ignored. Others would follow in her wake, most notably Louise Wener of Sleeper and Cerys Mathews of Catatonia, but it’s the first step that will always be the most important. SIDE B 9. The Manic Street Preachers ~ A Design For Life (#2, 15th April 1996) With the rise of Britpop a mass influx of new bands came onto the scene. But it wasn’t just new acts that benefitted from the Britpop craze, it also pushed many existing bands to higher levels of popularity. Most notable among these was the Manic Street Preachers. They had had a top 10 hit with “Motorcycle Emptiness” earlier in the decade and their work to date had been critically acclaimed but overall their reach was limited. With the release of their fourth album “Everything Must Go” in 1996, the Manics exploded. The album went to #2, becoming a 3x platinum record. Single after single went high into the top 10. While the quality of the music is undeniable, there is no doubt that the popularity of Britpop was what pushed them to such extreme success. It is all the more impressive a feat when you consider the status of the band at the time. The band’s lead guitarist and songwriter Richey Edwards had gone missing after the release of their previous record “The Holy Bible”. Presumed dead, fans and media alike wondered if the Manics would even have the desire to keep recording. Into this uncertainty stepped bassist Nicky Wire, who wrote an album that would push the Manics into the stratosphere. Heavily socialist, the band’s political views bled through the whole album. But this was not the exaggerated swagger of Oasis or the outsider complaints of Pulp. The Manics were typical working class boys from South Wales, their push against the system was not only accessible to the masses, it was one that could be easily written off by the conservative side of society. “A Design For Life” embodies everything that you need to know about the Manics. Big sounds made for filling stadiums combine with outspoken political values to create a wonderful rallying anthem. This is not a call to arms, this is not a battle warcry. No, this is far more important than any of that. This is a plea for a nation to recognise its problem, for its only then that action can be taken. 10. The Lightning Seeds, David Baddiel and Frank Skinner ~ Three Lions (#1, 20th May 1996) (cut in at 0:12, cut out at 3:40) In June of 1996 the nation was gripped in its customary summer illness: football fever. The European Championships had arrived and if the hype wasn’t already at fever pitch, England were the hosts. Hopes were high, the team was filled with stars like Alan Shearer, Paul Ince and David Seaman. These hopes were given voice in the team’s official tournament song. This was not the first time football had collided with indie - New Order’s “World in Motion” for Italia ‘90 remains a classic - but when Euro 96 merged with a fairly unknown Britpop band and two comedy funnymen something magical happened. It’s hard to decide which part of “Three Lions” was most responsible for its success. First, there’s the eminently chantable tune, as at home on the dancefloor as on the terraces. Then there’s the inspirational video (linked above), packed to the brim with clips of past sporting glories. However, in the end it has to be the lyrics that make “Three Lions” transcend its roots. This is not just a song about football, this is a song about what it means to be English. This is a song about keeping the faith, about never letting go of a dream, about taking pride in the fact that come what may, no matter what stands against you, no matter how many times you fall, you will never let go of hope. This is a song of pride. Thirty years of hurt might not be fifty but while those years didn’t bring any new football success they did give us one hell of an anthem. 11. Underworld ~ Born Slippy (.NUXX Remix) (#2, 1st July 1996) “Choose life,” said Mark Renton in the opening voiceover of seminal 1996 movie Trainspotting. Based on the book by Irvine Welsh, Trainspotting told the story of five addicts in Glasgow as they struggled to enjoy the life of excess. Funny, heartbreaking and inspiring in equal measure, the movie was responsible for launching a number of careers including Ewan McGregor, his co-star Kelly Macdonald and director Danny Boyle. Trainspotting resonated with a young generation that had been neglected by the system, and nowhere was this more evident than the soundtrack. Filled with tracks from some of the biggest names in indie like Blur, Pulp and Elastica, the soundtrack album was so successful that a second version was released. This sequel was made up of tracks cut from the first album and songs that had inspired the film. And while it was Iggy Pop’s “Lust For Life” that played under that famous voiceover, it’s the final track of this second album, “Born Slippy (.NUXX Remix)”, that has become synonymous with the movie. Playing over its closing minutes, Underworld's remix of their little known '95 track “Born Slippy” underscores Renton’s betrayal of his friends, stealing their money to walk off into the sunrise as he does indeed choose life. At first glance, a pulsating dance track might be a bizarre contrast to such a quiet moment but on closer view it is perfect. In its manic haze “Born Slippy” represents where Renton has come from yet its uplifting surges hold the hope of a brighter future. While Underworld themselves were not part of the Britpop genre, “Born Slippy” connects them to one of the key examples of its culture. 12. The Prodigy ~ Breathe (#1, 11th November 1996) (cut in at 0:05) While the Prodigy’s acid techno sound was about as far from Britpop as possible, the rave culture that gave them birth had close ties to its roots. Springing up in the early 90s, the rave scene was built around the emergence of the hottest new drug, ecstasy. For people who spent their weeks toiling through work, riding euphoric highs while dancing to manic beats was the perfect weekend escape. These were the same people who drove Britpop to its peaks, coming from the same socio-economic background. There were two images that became tightly linked to this culture. The first was a yellow smilie face, as popularised by Alan Moore’s graphic novel “Watchmen”, a link by its common use to mark early ecstasy tabs. The other was the bright green hair of Prodigy frontman Keith Flint. Here was a man that showed exactly what rave culture meant. Unconventional, bold, confrontational, Keith and the Prodigy didn’t merely comment on modern society, they outright rejected it. If society had had its way, the Prodigy would never have found musical prominence. However, as it has always been, music was a channel for the voiceless to make their opinions known, pushing the Prodigy to a number of chart topping hits. While the band’s attitude is most explicit in “Firestarter” it’s second number 1 “Breathe” that exemplifies their sound. Packed with raucous drums, screeching synths and Keith’s howled lyrics, “Breathe” could easily be mistaken for noise. It’s only under the strobelights at 6am on a Sunday morning that its joy truly shines. 13. Placebo ~ Nancy Boy (#4, 20th January 1997) As the sun rose on 1997, Britpop was starting to lose its shine. Blur’s biggest and best hits were behind them, Oasis were passing out of relevance in a heat of brotherly bickering, Pulp had never quite recaptured the magic of ‘95. While the compatriots remained active the genre was lacking a flagbearer. Arriving on the scene with “Nancy Boy”, Placebo were not the answer. They something altogether entirely different. With their emo style and dark subject matter, Placebo shared few genes with their Britpop brothers. Just a few years ago they would not have found acceptance with the masses but Pulp had opened up the genre and now bands were forming in response. It was time for the Second Wave of Britpop. Times had changed since Blur sparked the genre into life. For starters, it had transcended lad culture to a wider audience. More importantly, the election of Tony Blair’s New Labour in May ‘97 put an end to the dying Tory regime and brought a new era of hope to the country. The bands of the Second Wave faced a different climate. These were not just bands that played Britpop, these were bands that were inspired by Britpop. They didn’t want to just repeat the sounds they loved, they wanted to do more. Their music was more experimental, their lyrics less political and more introspective. After Placebo sounded the arrival of the Second Wave they were soon joined by bands like Space, Mansun and Catatonia. And as "Nancy Boy" proves, while the Second Wave bands struggled to match the success of their predecessors, the tunes were still as good. 14. The Verve ~ Bittersweet Symphony (#2, 16th June 1997) Even though the Second Wave was in full swing, there was still that void at its top. The genre was waiting for someone to take centre stage. The Verve were not a debuting act in 1997, in fact they had been recording throughout the Britpop era but it was only in its final years that they rose to prominence. Where Blur and Oasis were loud and noisy, the Verve were quiet and somber. Their reflective lyrics were the most appropriate end to the genre, looking back over the excesses of the era and finding them lacking. Above all their other tunes “Bittersweet Symphony” acts as the perfect postscript. With its U2-inspired soft guitars and haunting melody, “Bittersweet Symphony” stripped away the attitude and outrage of its forebears, instead dwelling on the inescapable truth of lad culture. No matter how many nights out you had, no matter how many drugs you took, no matter how many raves you went to, the next morning you would wake up in the same place you’d started. It was the same truth that Mark Renton realised in Trainspotting, the same truth that Shirley Manson recognised in herself, there was no grand design for life in play. Just day after day of being society’s outsiders, their mis-shapes, and taking pride in the country that had ignored you was the last thing you should be doing. “Bittersweet Symphony” was not quite the last big Britpop hit - the Verve and the Manics would enjoy some more success through the end of the decade - but as a way to mark the end of this most wonderful, most brief of genres, nothing can sum it up better. 15. Radiohead ~ No Surprises (#4, 12th January 1998) To know where you’ve been, last you must know where you’re going. While Britpop had spent the last few years taking over the country, there was one band that had eschewed the genre’s values to forge a different path. First releasing music in 1992 with their debut single “Creep”, Radiohead had been constantly active during the heights of Blur and Oasis, but it was with the arrival of their third album “OK Computer” that they moved into the spotlight. The band had always aggressively denied being connected to the Britpop genre, not sharing the same musical inspirations or values. And it’s true, while the Britpop boys were off on lads nights out, Radiohead were sitting at home alone in a dark room staring at the wall. During the heights of Britpop they had sat on the sidelines but now they were the new flavour. “OK Computer” had killed the genre. That isn’t quite true, of course, there were far more many factors in play. The election of New Labour played a key role, the death of Princess Diana was another factor, the political backlash against lad culture contributed as well. But Radiohead definitely played their role. Songs like “No Surprises”, a depressive and dark lament, were where bands looked for inspiration now. The charts would soon be taken over by the likes of Coldplay and Travis, bands close to Radiohead’s sound. There just wasn’t any room for Britpop any more. It was not a simple break though. Many of the Second Wave would continue to release music well into the early 00s. A few bands like Embrace would even find their biggest successes in those years but the genre’s time in the sun was over. The Britpop bands that survived started to diversify, transitioning their sound into different genres. For years, Britpop became a dirty word, something to be ashamed of both musically and culturally. But now, 20 years on, we can look back on the time and recognise four years where British indie was the most fresh, exciting and interesting music scene in the world. Full Playlist
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Mar 29, 2015 15:36
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Allen Wren posted:Also, really, I'd almost have gone with Popscene over Girls and Boys, and either the Cigarettes and Alcohol b-side Fade Away or Live Forever as the Gallaghers' entry. Also, surprisingly little shoegaze. Huh. If it was purely about song quality then I woulda gone with Coffee and TV and Don't Look Back In Anger, but in terms of overall importance to the genre you can't leave out the song that started it all and then that Country House/Roll With It battle was the hugest thing over here. You don't know the impact it had if you weren't living through it, it was literally everywhere. Shoegaze was really an 80s thing
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Mar 29, 2015 17:17
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Asiina posted:I was going to make an ABB mixtape and use that TLC song for when I got ultimate betrayed. No Extreme Ways, 0 stars.
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Mar 29, 2015 19:11
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Extreme Ways represents our alliance at its height, clearly.
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Mar 29, 2015 19:34
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I know, this is exactly my point
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Mar 29, 2015 19:37
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Byers2142 posted:Rarity has been awarded! I will send relevant PMs shortly, but day continues. As far as I'm aware, this did nothing
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Mar 30, 2015 00:46
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Congrats Allen, that was some impressive dedication!
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Mar 30, 2015 00:52
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King Burgundy posted:Yeah, I put probably 3 or 4 hours into mine, but it feels like both you and Allen were even more invested. I had two 8 hour days at work with nothing to do while calling up answer machines 
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Mar 30, 2015 00:59
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