Interesting the media, SJW and luvvie class have painted his set at Glastonbury as ''a significant cultural event'' up there with The Sex Pistols on the Bill Grundy show or the spin of Britpop at it's height. I think mainly because he got the audience into joining in a chant of ''Fuck the Government and fuck Boris!'' Which is intriguing as under Boris's mayorship black on black and knife crime went down significantly in London.
All I see is another homophobic gangsta' rap/grime bad role model for black youth. Black youth deserve better role models than the shimmying modern minstrel show of the mugging gangsta' rapper and his crew. All that's missing from that video is the big booty dancers.
I think mainly because he got the audience into joining in a chant of ''Fuck the Government and fuck Boris!'' Which is intriguing as under Boris's mayorship black on black and knife crime went down significantly in London.
After the excellent Ealing beer festival and a tour of Surrey breweries, time for some Country and Western drinking songs, though I have no idea about drinking on the other side of the Atlantic. This applies to both honky tonks and cocktail bars.
But not as iconic as Morrissey is he? I still remember walking into the local surfer bar in Ipanema and all that was being playing were Smiths songs. I was pretty much shocked that this most English of English bands and provinicial too could be so well respected in this part of South America. But soon I learnt that Legiao Urbana were massivley influenced by Morrissey's kitchen sink lyrics that happened to translate very well to the situation in Brazil.
In the early 1990s Brett Anderson/Suede and Pulp washed over me. In hindsight maybe I missed something, like I did with the Happy Mondays, who know I really get. At the time though you had the second wave of CD's coming in, inferior to the first wave mastered direct from the studio tapes, compressed to one dimension and then you had those mini-CD-hifi systems that seemed so modern at the time, but just compressed sound even more. That's why they could get away with the first MP3 format. And also likely why a lot of new music ended for me at the end of 12'' era late 1980s.
No one at the time refered to the ''English shoegaze'' at least in the UK. But there was a lot of indie neo-pyschedelic bands who couldn't play beyond a poor garage band. I've also come across American comentators in the early 1990s refer to The Style Council as part of the New-Bossa London scene. Which no one in London or the UK would have recognized
Suede tried the glam marketing with Anderson as the heir of Bowie. Indeed, Morrissey said Anderson wanted to be Angie Bowie. But the reality was he couldn't compete with the real deal. I'm talking style wise. I haven't listened to the music sufficiently enough to comment. But so soon after the New Romantics in the 1980s, selling Anderson as glam was a tough sell. I considered him rather dour - at the time.
Maybe that was another movement you missed, at the time? The whole Shoegaze or Scene That Celebrates Itself movement was huge for a couple of years in England in the early 1990s. Alan McGee at Creation Records couldn’t sign bands fast enough. All it took was a copy of My Bloody Valentine’s second album, a bunch of effects pedals, an anorak and fringe and a posh Oxfordshire accent. This was at the height of the NME/Melody Maker ‘taste maker’ era.
Most of them were terrible, though a few gems were lost in the pile. The Telescopes and Pale Saints come to mind. And of course MBV suffered from the bastard children they created. Oh, the first few Ride EPs were listenable in a Brydsian jangley way.
As for Suede, they were a welcome breath of fresh air at the time that soon fell into self-parody. That said, some of Anderson’s solo work is excellent.
Morrissey was turning into a self-parody even before The Smiths’ split.
Never heard of any of them, the Scene That Celebrates Itself? No. Stuff washed over me, as I didn't like it. But those two movements I never heard of at the time, or since, until now. I would be intrigued if any Brit members of the forum had heard of those at the time.
Alan McGee at Creation Records couldn’t sign bands fast enough. All it took was a copy of My Bloody Valentine’s second album, a bunch of effects pedals, an anorak and fringe and a posh Oxfordshire accent. This was at the height of the NME/Melody Maker ‘taste maker’ era.
NME did of course, champion Morrissey at one time.
Creation Records were throwing money around early 1990s. A mate of mine's band were courted and ultimately they seduced one member they thought was talent and he promptly spent his advance on heroin and the rest is degradation. The other members of the band went on to nice middle class jobs or stop slumming it, but one went on to composing music for the film and television industry in L.A.
Most of that was deliberate methinks as he had out grown The Smiths and was looking for a way out by stalling in the studio and pissing everyone off by getting lost in the packaging for endless compilations of the same music but in different sequences.