Britpop evolved in the early '90s, somewhat as a response to American grunge and the anti-rock stars dominating the British techno and indie-rock scenes. Britpop revived the idea of rock stars and pop songs with big, catchy melodies and hooks. Though the bands differed greatly in styles -- they ranged from the massive guitar roar of Oasis and the defiantly British pop of Blur to the disco/glam-rock pastiche of Pulp and progressive rock of Radiohead -- the bands were tied together by attitude.
History
First years and Paul Weller (1991-1992)
In the early '90s, a rather vague movement appeared, growing out of the established 'Indie' scene, dubbed Britpop by the press. It was characterised mainly by a considerable '60s influence and a return to guitar-based music after years of over-produced synthetic pop, and was hailed by many as 'pop's saviour'. For a few brief moments in 1994, no-one knew whether Oasis or Blur would take pop's crown, though with the benefit of hindsight it's strange to think there was ever any doubt. Of course, Oasis' populism won hands down over Blur's (relative) eclecticism and willingness to experiment.
Ex-Jam/Style Council mainman Paul Weller started the ball rolling on his 1993 effort 'Wild Wood', utilising the instrument on a good half of the album's tracks, repeating the feat on the following year's 'Live Wood' on-stage effort. It's rather ironic that although Britpop was chiefly regarded as a young musicians' thing, the wrong-side-of-30 Weller laid the groundwork for the movement, inspiring many of its main movers and shakers. Strictly speaking, Weller cannot really be described as Britpop, or even Indie, but without his 'dadrock' influence it may all have turned out rather differently.
Britpop at it prime (1994-1997)
Oasis kicked things off properly with their '95's (What's the Story) Morning Glory, notably on major hit "Wonderwall". For any doubters regarding the 'real or Mellotron cellos' debate, wind your CD to about 4.12, where if you listen closely you can hear the sound choke off at the end of the tape. The other contenders for 'first '90s use' were Pulp. Despite having a classic monosyllabic Britpop name, Pulp had been in existence for a good decade, and had a good few rather unsuccesful albums under their collective belts. Their star was already on the rise with their 1994 effort 'His 'n' Hers', but in 1995 their time finally came, as the superb '60s-influenced pop of 'Common People' finally broke the band to a wider audience. Its parent album, 'Different Class', featured various band members on a raft of vintage gear, including oddly charismatic vocalist Jarvis Cocker on Mellotron. It's only really apparent on a couple of tracks, but the band's dense sound means there could be more hidden away in the mix somewhere. Paul Weller released another 'Tron-laden album that year with the critically aclaimed 'Stanley Road'. More dadrock ensued.
Another big name whose Mellotron use remains unconfirmed are the quite interesting Supergrass. Their albums feature loads of (real) Hammond organ, with other analogue stuff inserted here and there, but despite rumours, there's no obvious mellotron anywhere.
1996 only seems to have coughed up Denim's On Ice, although Blur used samples here and there too. 1997 brought seemingly dozens of new contenders, however. Suede's 'Coming Up' let a little 'Tronness creep onto one track, but The Verve's much-lauded 'Urban Hymns' featured it on a couple of songs, albeit uncredited. Oasis' 'Be Here Now' allegedly features Mellotron , but fairly close scrutiny failed to pick any out; another case of 'buried in the mix'. Two lesser names, the Seahorses and Rialto both used the instrument quite openly, but it didn't seem to do much for their careers. Although most of the bands were english, there were exceptions. Some of the most notirious bands like Super Furry Animals, Manic Street Preachers were Welsh, while other like Travis and Belle and Sebastian were Scotish. Even the infamous Oasis' Gallagher brothers were Irish descendants.
One big name to unashamedly nail charts that year was Radiohead. Strictly speaking, not Britpop at all, but commonly placed within the genre. Their previous effort, The Bends picked up rave reviews across the board, but OK Computer was an altogether darker thing, provoking 'the new prog' comments in the press. Strangely, this did the band no harm whatsoever, and the album sold by the truckload. None of the album's singles featured the instrument, but it crops up on several tracks, particularly utilising the classic 8-voice 'choir' sound.
Death of Britpop and second wave (1998/1999-present)
In 1998 the initial movement started slowly to vanish. Some even blame Oasis' third album Be Here Now, whose star slowly began to fade away due to self-indulgence and cocaine fueled life. Their subsequent releases didn't reach the height of their first. Blur material, after the Great Escape, was more experimental than their previous, although there were some resemblance with their early stuff. Suede and Pulp entered in a hiatus in 2003 after two not so fan-popular albums, but the main frontmen continued making music. One of the most remarkable groups of the middle 90s - the Verve - also disbanded after on-going rumours in 1999. Radiohead releases after their remarkable OK Computer showed them combining the musical hooks from their previous releases with electronics, ambience and different sounds.
Not so long, after the initial wave died in late 90s, new groups appeared. Most of them like Muse, Coldplay, Travis and Stereophonics were inspired by the preceding bands' work, but their early material isn't so strikingly original or innovative as Radiohead and Oasis. Most of them borrow many similar traits in attitude and some matured in sound with their latest stuff, establishing themselves in their own musical niche.
See also: List of Britpop musicians
Last updated: 02-07-2005 04:03:29
Last updated: 05-03-2005 02:30:17
