Electric & Musical Industries was formed in 1931, initially releasing classical music, but went on to launch the Beatles, who changed the record label's operations and funded the company for years and years. The label's recording rules were further broadened by Queen and Pink Floyd. EMI ushered punk into the mainstream with Sex Pistols, and then embraced the New Romanticism and the polished excesses of Duran Duran. They made music videos big with Pet Shop Boys and made Brit Pop a thing with Blur, and were home to Radiohead. This is the inside story of EMI, one of the greatest British brands in recording history, as told by people involved with the record label's storied history, augmented by company and performance footage. [more inside]
Damon Albarn has released a video for the title track from his upcoming (and first-ever!) solo album, Everyday Robots. Rolling Stone has asked him questions about it. He recently performed a few new songs and some old ones at the Sundance Film Festival. Aitor Throup, a London-based menswear designer, is the album's "creative director."
What can we really tell about these tracks’ place in a world where the common consensus has airbrushed the Outhere Brothers and Robson & Jerome into a parallel world? Track one: Parklife by Blur. Track two: Cigarettes and Alcohol by Oasis. So began Polygram's series of Shine compilations, ten double CDs issued between April 1995 and August 1998 - an imperfect document of a timeframe that includes a battle for number one making the news bulletins, and Jarvis Cocker invading Michael Jackson's Brit performance. The Shine Years, by Simon Sweeping The Nation, is recapping the Shine compilation albums chronologically, track by track.
Love and Poison tells the story of BritPop's love triangle -- Blur's Damon Albarn, Suede's Brett Anderson, and Elastica's Justine Frischmann. These articles from The Guardian are an excerpt from John Harris' "The Last Party: Britpop, Blair and the Demise of English Rock."
blur are back. My favourite band since seeing them play in a pub in Leicester, blur release their 7th album next month. They "invented" Britpop, then reinvented themselves when the backlash began, and it's lovely to still have them around. Something I've grown with and recognise as I stare at another edition of Top of the Pops, understanding nothing of the karaoke-cover-pap in the charts today. If you're going to see them in London next month, I'll be the one at the back with a pint in my hand and a contented smile on my face (too old for this jumping around at the front lark)...