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Speaker 2Let's move on to another category now, because this 94 is kind of a peak for certainly the initial wave of trip-hop music. Partly the reason it's a peak is because Portishead's Dummy came out this year, which I guess along with Massive Attack's Blue Lines is kind of the year zero for at least the archetypal textbook. It's a trip-hop record. Now, I know, for example, that Jeff Barrow from Portishead would hate that the album would be even considered as a trip-hop record. But Jeff, I'm sorry, this is kind of like the defining, it's almost the defining record for trip-hop. It's the idea of taking elements of lo-fi, plunder phonics, and sampling stuff from old spy records, and that kind of cold, almost kind of distant femme fatale female voice over the top. And those old John Barry, Ennio Morricone guitar lines. To me, that's kind of what I think of as the quintessential trip-hop sound. And this is the quintessential trip-hop record. And actually, it's probably my least favorite Portishead record. I think it's the one that's dated the most, partly because it's the one that's been the most imitated. I love their third record. I think the third record is amazing. But they were reaching for something else there. This record has been endlessly imitated to the point, actually, when I went back to listen to it for the podcast, for purposes of talking about it here, it didn't quite have the impact that I remember it having on me at the time, which was massive, which was massive. I'm going to cue it up, Tim.
Speaker 3So what's your take on this? It's dark, cinematic, dramatic. And it was something that I think we were both immediately drawn to. It was a fresh sound. Plus, it had enough of things that we already liked. As Stephen alluded to, there was quite a lot of a John Barry influence. And I think they even sampled Barry in a couple of the pieces. I mean, I would argue that these ideas had been out there for a few years. Even some early No Man tracks like Colors or Days in the Trees were operating in a relatively similar territory with relatively similar influences. But they pulled it together, and they pulled it together brilliantly. And we heard this probably a few months before it was released, because our A&R man at the publishing company at the time was trying to sign them for the publishing company. And he was from Bristol as Portishead were from Bristol.
Speaker 2Massive Attack had released Blue Lines in, what, '89, '90, wasn't it? No, '91, I think. Okay, so Trip Hop had been around for a while already, hadn't it? And I think even if you go back and listen to things like
Speaker 3There were elements of that.
Speaker 2There's a lot of elements of that kind of idea of the plunder phonics, sampling from different records, lo-fi, vinyl crackle, all of that stuff. But it was almost the kind of fusing that with the soundtrack aesthetic. John Barry, Ennio Morricone.
Speaker 3And also, I think the point is as well, I think that if the seeds of this existed over the previous six years, nobody had pulled together an album that was coherently this until Dummy. I think Dummy was this wonderful show, I think Dummy was this wonderful show, and it was a shock of sound. And I think that whole Bristol scene of tricky, massive attack, Portishead, it was compelling, it was inventive, and I still draw quite a lot from it today.
Speaker 2So let's talk about the other big Trip Hop album from this year, which is the second Massive Attack album. So Massive Attack had kind of laid down the blueprint in a way for what we call Trip Hop three years earlier with Blue Lines. It came out with a second album, Protection. Now, I'm a big fan of the first album, Now, I'm a big fan of the first album, and I'm a big fan of Metanine. To me, that's their masterpiece, which came out a couple of years after this record. So this is what I would think of as a transitional record for them. It's a record I probably spend less time with than Blue Lines and Metanine, but it's still got some phenomenal, phenomenal tracks on it. I think what was interesting about Massive Attack is their taste in singers. They always chose brilliant singers. So on this record, on the first record, we're working, obviously, with Sharon Nelson. On Metanine, they had Liz Fraser, which is just a stroke of genius to me to bring Liz Fraser in. On this record, it's Tracy Thorne, another amazing female voice that you wouldn't associate with club culture.
Speaker 3And it reinvented everything but the girl in its wake, really, because everything but the girl have a really lovely album out in '94 called Amplified Heart, but this is their tribute to Witch Season and the acoustic singer-songwriter albums of the early '70s. And after her downfall, after her dalliance with Massive Attack, you get Walking Wounded in '96, I think, which is one of my favourite everything but the girl albums, glorious album. She has a marvellous voice. I mean, like you, I kind of, with Massive Attack, my favourite, actually, it's Metanine, and I think Thousandth Window was it? That was brilliant too, yeah. Which I think is a stunning record. With Sinead O'Connor singing on that one, yeah.
Speaker 2So they kind of had this, they almost had this pattern of every album choosing to work with a British female singer, or Irish in the case, Sinead, that you wouldn't necessarily associate with, being someone that would sing.
Speaker 3So they had Horace Andy from the reggae background, also Terry Callier sang with them.
Speaker 2They did, yeah, they had other people too, yeah. But on this record, Tracy Thorne, and we'll just listen to a little bit of. Whenever I hear this song, I always think of the video, the protection video, I'm sure people must have seen it. I forget the name of the director now, very famous film director, wasn't it, that directed it? Alfred Hitchcock. Not Alfred Hitchcock, no. I've forgotten his name now. But a brilliant, one of the best videos ever made for me. But I think Massive Attack, certainly compared to Portishead, they have much less of that kind of lo-fi aesthetic. It's quite produced, isn't it? This song, and also it's true of Teardrop from the next album, which is one of my favourite pieces of music ever, period, is that use of the repeating piano ostinato. Sure. And again, this relates back to something you were saying, the influence in a way that's coming from classical minimalist music around this time, and a lot of electronic music, entropic, trip-hop music, this idea of these repeating lines, repeating lines, building, and chordal shifts within that, and you hear it very clearly in Massive Attack.
Speaker 3I think also I like the Spartan production. Again, listening to that, there's not very much in it, so when a new sound comes in, like when the synth pulse came in, it really gripped you. Although I kind of like, one of the reasons I like Mezzanine and A Thousand Without More is that every sound is immaculate. So even the bass drum sound is almost unique to them. It's like they've spent 10,000 hours honing this unique sound. And they probably did. Yeah, they probably did.
Speaker 2And they probably did, yeah. I think notoriously Massive Attack had taken increasingly long to make each record. So that sounds great,
Speaker 3but I think by the next album, every sonic element is quite unique to them. I love Mezzanine.
Speaker 2Wow. What a great album that is. I mean, this is a great album too. They just have such a great, again, I think like the Trent Reznor Nine Inch Nails, they have this great kind of producer sensibility. Like you say, everything is exquisite. It's not about the cult of personality. In fact, quite often, they're almost quite happy to retreat into the background. Sure. To the point that when you see the band on stage, well, who's actually in Massive Attack? I don't know. It doesn't matter. It's about the music.
Speaker 3They probably could and do walk around Bristol unnoticed.
Speaker 2They probably do. They probably do. It's just about these making these exquisite records. And the curiosity that seems to be going on all the time in the music. What's possible? What's possible with the technology? And also the fact they come from hip-hop culture. They were all hanging out with Banksy graffiti artists.
Speaker 3What was interesting if you look at Massive Attack, and I think this is true of Tricky, maybe it's true of Portishead, is that it was colliding because Bristol and Berth were quite well known for experimental post-punk and dub. And so you had all of these influences from dub reggae culture, the post-punk bands, and then the dance hip-hop culture.
Speaker 2It's very British, isn't it? Yeah. It's a very British sound. Now you're talking about it. It's something about trip-hop that seems very British. The closest comparisons I can think of in America would be things like the DJ Shadow introducing album. Again, that kind of crepe digging mentality. But there's something very British about the sound of Portishead, Massive Attack, and all of the imitators that came out. Let's move on to another category. We're getting through these. That's good. Believe me, sometimes we've been known to talk for five or six hours about a particular year. That's not going to happen today. Don't worry. About a bass drum. Yeah. There's another form of music that seemed to be in the ascendancy in 1994 that has continued to ascend into mainstream popular culture. And I think there's a very strong reason for that, and I'll talk about that in a minute. And I'm talking about the neoclassical genre. Now, neoclassical music had been around for a few years before this. I remember discovering things like Arvo Pets, Tabula Rasa, Gretzky Symphony No. 3, a few years before this. And they were kind of big records. But in 1994, a couple of records crossed over from that kind of classical world into the mainstream and sold, I believe, Llywodraethu miliwn o copïau. Un ohonyn nhw yw record Yngarbrich a'r Ensemble Hilliard Oethisiam. A'r un arall, os nad ydych chi'n gwybod, yw'n rhywfaint o gyfadreithiad o chanfraith Grigorian tradidionol, ond gyda Yngarbrich, chwaraeon saxifôn Cymdeithasol Cymdeithasol Cymdeithasol, sy'n ddiddorol iawn. Gallwn chwarae ychydig o'r ffôn i mi, hi-tech, mewn diwedd. Ond yr un arall oedd album Carl Jenkins, Adi Amos. Ac mae'r recordiau hyn wedi cymryd rhan o ffyrdd ffyrdd ffyrdd FFM Cynraddol i gyflwyno cyflwyno cyflwyno cynhyrchol. Nawr mae'n ddiddorol oherwydd rydyn ni'n cael llawer mwy o hynny'n digwydd. Mae artistiaid fel Max Richter, artistiaid fel Max Richter nawr yn rhannu miliynau a miliynau a miliynau o chwarae ar ffyrdd ffyrdd ffyrdd Spotify. Rwy'n credu bod 'Sleep' nawr yn un o'r cysylltiadau clasigol mwyaf wedi'i wneud. Ac mae rhan o'r rheswm am hynny wrth gwrs yw bod pobl yn gwrando arno pan maen nhw'n sylweddol. Os wyt ti ddim yn gwybod, mae 'Sleep' Max Richter yn cysylltiedig i'w gwrando. Mae'n ddiddorol iawn. Mae'n ddiddorol iawn, ond mae'n gysylltiedig i'w gwrando pan mae pobl yn sylweddol neu'n ceisio mynd i'w sylweddol. Fodd bynnag mae fy nghydweithwyr yn ei wrando, y 13 ac y 11, maen nhw'n rhoi Max Richter i'w sylweddol pan maen nhw'n ceisio mynd i'w sylweddol. Felly mae'n llwyddo'n fawr iawn. Rwy'n credu bod rhywbeth am ddiddordebau neoclassig sy'n cyffwrdd â'r ffordd bywyd yn 2024. P'un a yw'r playlist i ddiddordeb i yoga, i amser coffi, i hyfforddi. Mae llawer o'r cerddoriaeth hwn yn cael ei wrando heb ei wrando. Ond rwy'n credu bod rhywbeth, hyd yn 1994, yna ddiddordeb i'r cerddoriaeth sy'n dod yn ôl i rywbeth. Rwy'n credu bod rhywbeth sy'n dod yn ôl i rywbeth mwy organig, rhywbeth y gall pobl ymwneud â phosib mwy i ddiddordebau clasigol traddodiadol, ond hefyd yn fwy syml, ynghylch melodiaeth. Ac rwy'n credu bod hynny, eto, rydych chi wedi sôn am y ddiddordeb hwnnw o ddiddordeb dynol. Eto, mae'n lleihau cerddoriaeth clasigol i rhywbeth mwy dynol, mwy ynghylch melodiaeth a chyflawniad.
Speaker 3A'n fwy ddiddordeb am ddiddordeb. Mae'n ddiddordeb oherwydd, fel chi, roeddwn i'n hoffi Arvo Pair, roeddwn i'n hoffi Gretzky. Yn amlwg, roeddwn i'n fan enfawr o'r Minimalist Cymraeg hefyd, ond mae'r cerddoriaeth hwnnw wedi parhau i mi. Rwy'n cofio'r Yn Garbaric, roedd fy mab yn cofio'r Carl Jenkins. Yn gwirioneddol, roedd eich mab yn cofio'r Carl Jenkins. Ie, roedd e'n cofio Soft Machine hefyd, sy'n ddiddordeb iawn.
Speaker 2Dyma'r Ensemble Hilliard yn Yn Garbaric. Mae'n anhygoel iawn, ond mae'n rhywbeth y gallwch ei roi arno yn y diwrnod diwrnod a chynhwysio'r cerddoriaeth hefyd.
Speaker 3Ie, ac mae'n gombinaeth unigol mewn ffordd o'r chwaraewyr jazz sydd wedi dechrau gan fod yn agresif iawn ac yn ffrid jazz, rhai o'i cerddoriaethau cyntaf, gyda, fel rydych chi'n ei ddweud, eithaf gwirioneddol cyfnod Gregorian.
Speaker 2Mae'n y ffusiwn o'r go iawn a'r newydd. Yn rhai ffyrdd, rydych chi'n gwrando ar hynny nawr a'ch bod yn meddwl, "Wel, pam nad oedd rhywun yn gwneud hynny o'r blaen?" Yn union. Mae'n gynharacholwyr jazz, gynharacholwyr saxofon, yn gynharacholwyr jazz, yn gynharacholwyr jazz, yn gynharacholwyr jazz, yn gynharacholwyr jazz. yn amlwg beth yw cerddorion Gogorion Cymdeithasol. Ac mae'n gweithio'n dda. Mae'n gweithio'n dda iawn. Ac wrth gwrs, unwaith eto, fel'r trip, rydyn ni'n siarad am'r trip-hop, yn rhoi cynyddu i lawer o hymygyddwyr. Mae'n dechrau bod yn trob yn ei hun i wneud rhywbeth fel hynny.
Speaker 3Roeddwn i'n siarad am ddweud, chi'n gwybod, yn cathedraliau Cymdeithasol, yn ôl hyn, mae gennych chi unrhyw cellist sy'n cymhwyso dros achostra neu choir, neu chwaraewydd trwmpet yn gwneud yr un peth. Roedd gennych chi hyd yn oed adroddion hyn yn lleol.
Speaker 2Mae'n debyg bod hynny'n anodd i fynd yn anghywir, yn dda, chi'n gwybod. Ie, mae'n gweithio. Mae'n brofiad hyfryd. Dim ond y cathedraeth o'r cathedraeth, mae unrhyw beth yn swnio'n dda yn y cathedraeth o'r cathedraeth. Ond yna rydych chi'n mynd allan o'r cathedraeth ac rydych chi wedi anghofio amdano. Ond mae hynny'n ddiddorol, yn dda? Dyma'r dechrau o'r hyn rydyn ni'n meddwl amdano fel cerddoriaeth neoclassig. Ac mae yna rhai cerddoriaeth neoclassig sy'n llwyddiannus iawn nawr. Max Richter, Johan Johansson, Niels Fram mewn ffordd hefyd, rydyn ni'n tapio i mewn i hynny. Mae'n gwneud hyn, dwi'n meddwl, yn gyfadreol iawn o'r cerddoriaeth clasig. Ond mae'r cerddoriaethau nhw wedi tyfu i fyny hefyd yn gwrando ar Apex Twin a Radiohead. Ac mae hynny hefyd wedi'i ddanfod i'r hyn maen nhw'n ei wneud. Ac rwy'n hoffi hynny, ond rwy'n meddwl bod llawer o bobl yn gwrando arno heb gwrando arno. Mae'n dod yn y cerddoriaeth newydd mewn ffordd, y cerddoriaeth amgylcheddol newydd mewn ffordd. Roeddwn i'n ei ddarllen fel rhan o'r ymddygiad i hyn. Roeddwn i'n darllen llyfr gwych gan Michel Faber, y bobl a ysgrifennodd 'Under the Skin', ac roedd yn ysgrifennu'r llyfr hwn yn enwedig 'Listen'. Rwy'n credu ei fod wedi'i enw 'Listen'. Ac mae yna rhai ystadegau yn y llyfr hwn sy'n gwneud fy marn. Mae'n ysgrifennu am yr holl ddiwylliant gwrando. Sut rydyn ni'n ymgysylltu â'r cerddoriaeth? Sut rydyn ni'n gwrando i'r cerddoriaeth yn y ddyfodol 21? Ac roedd yn dweud, un o'r ystadegau sy'n ei ysgrifennu yn y llyfr yw bod dim ond 2% o'r cerddoriaeth yn cael ei wrando. Felly mae'n golygu bod yr eraill 98% o'r cerddoriaeth sy'n digwydd yn y byd yn digwydd yn rhywle yn y canolfan. Efallai fod y cerddoriaeth yn y ffilm diwethaf yr ydych chi'n ei weld. Efallai fod y cerddoriaeth yn y siop llyfrau pan fyddwch chi'n siopio, neu'r gartref. Efallai fod yn y llyfrau chwaraewr rydych chi wedi'i roi arnyn nhw pan fyddwch chi'n gwneud eich yoga, neu rydych chi'n cael eich coffi. Mae 98% o'r cerddoriaeth yn ymgysylltiedig gyda phobl sydd ddim yn gwrando ar hyn o bryd. I mi, mae hynny'n dweud llawer am y gwaith cerddoriaeth yn 2024. Felly mae'n anodd, ond mae'n gwneud pwysig i mi fod hynny'n ymwneud â fy mhrofiad hefyd. Ac rydw i'n gwneud recordiau, rydyn ni'n gwneud recordiau gyda'n gilydd. Rydym yn disgwyl i bobl ymgysylltu â nhw, i wrando arnyn nhw, i fynd ar ffordd, i'n gofalu i'w cymryd nhw ar ffordd o 45 munud neu beth bynnag, heb eu gwylio eu e-bost, heb eu gwneud eu hunain coffi neu sandwich. Ac mae hynny'n ymwneud â phosibl iawn i wneud cerddoriaeth yn 2024. Ond y peth fwy am ffasiynol yw'r fwyaf rwy'n ei wneud. Y peth fwy rwy'n ei wneud, ie. Ond mae hynny'n ddiddorol, ond mewn gwirionedd mae hynny wedi dod yn y cerddoriaeth allweddol. Ie. Roedd pobl yn siarad am y cerddoriaeth allweddol. Mae Nirvana yn gerddoriaeth allweddol. Nid o, nid o. Mae'n y peth mwyaf allweddol rydych chi'n gallu meddwl amdanyn nhw. Y peth allweddol yw gwneud cerddoriaethau nawr sy'n cael eu gwrando i'w gwrando o'r dechrau i'r diwedd. Mae hynny'n ddiddorol i'r cerddoriaeth.
Speaker 3I mi, pan fyddwn i'n gwneud cerddoriaethau, mae'n iawn mai gallaf fy nghymryd 30 effeithiau i gael y cyfathrebu yn iawn, drosglwyddo pethau a phethau arall, oherwydd bod y profiad cerddoriaeth, y gwaith cerddoriaeth, yn hytrach na'i bod yn mynd i fod yn cael ei fwynhau, mae'n bwysig i mi fod y dealltwriaeth, y gwaith. Ond mae hynny oherwydd ein bod
Speaker 2wedi tyfu i fyny gyda recordau Pink Floyd ac ein bod wedi tyfu i fyny gyda recordau lle roedd yn teimlo fel pob dealltwriaeth bach.
Speaker 3Ond hyd yn oed yma, fel rydyn ni'n ei ddweud, rydych chi'n gwybod rhywbeth fel Nine Inch Nails yn gweithio, oherwydd nid yw'r cerddoriaeth yn unig, ond yr adnoddau enigmol o'r gwaith oedd y cerddoriaeth. Mae'r holl ffisialist yn hytrach, ie. Mae'n ymwneud â'i poedriaeth sydd wedi'i gyfathrebu. Mae yna lawer o fathau o'r cerddoriaeth honno ydw i'n ei ffathrebu.
Speaker 2Gadewch i ni siarad am un peth mawr sy'n digwydd, yn y leiaf yn Brytain, a dyna Britpop. A oedd Britpop yn golygu unrhyw beth? Nid wyf yn gwybod, oedd hi? Rhai o'r cerddoriaethau hyn, iawn? Oasis, rwy'n meddwl, yn debyg, oedd yn eithaf mawr. Blur, oedden nhw? Blur oedd. Pwy oedd? Swade, oedden nhw'n gwneud unrhyw beth?
Speaker 3Supergrass, ie. Pulp, ie.
Speaker 2Menswear. Manic Street Preachers. Mae'n ddangos y cerddoriaeth hwnnw. Mae'r flwyddyn hwn yn bwynt uchel i Britpop, ac mae'r record hwn, fel y gallwch chi ei weld yma, yn amlwg yn ddiflannol iawn nawr, oherwydd mae Oasis wedi dod yn ôl. A dwi'n meddwl ei fod yn dda i ddweud. Dim ond £700 i ffotograff. Rwy'n credu ei fod yn dda i ddweud bod oasis'r holl reputasiwn yn llwyddo ar y cerddoriaeth hwn a'i ddilyn. Felly mae'r cerddoriaeth hwn, ac mae'n record ddebut gwych. Dwi'n mynd i ystyried ei fod ddim yn eich peth, Tim. Nid yw'n eich peth fy hun hefyd, chi'n gwybod, mae'n un o'r pwyntiau o'r amser lle mae band newydd yn dod ymlaen ac mae'r cerddoriaeth nhw'n ymddangos yn rhywbeth yn gyflym yn unig ac yn dda i ddweud, ac mae'n gael personol a chynhyrchol i'w gael, heb ystyried unrhyw beth am eich syniadau am yr hyn yw cerddoriaeth. Dwi'n credu bod oasis yn sôn yn ddiogel, yn gyffredinol, ond roedd gennym ni ddigon o bersonol a swagger am y ffordd y gwnaethon nhw ei wneud, a gwnaeth y cerddoriaeth ei weld yn ychwanegu i bob peth arall.
Speaker 3Roedd y cerddoriaeth yn ddiogel, roedd y cerddoriaeth wedi ysgrifennu cerddoriaethau hyfryd iawn ac rwy'n credu bod eu hwmor a'u cyfweliadau wedi dod ymlaen yn dda. Roeddent yn caru'r Beatles, rwy'n credu ein bod yn gwybod hynny, ond maen nhw hefyd wedi cyflawni gallu'r Beatles. Os ydych chi wedi gwylio'r cyfweliadau o'r Beatles cynnar, maen nhw'n ddiddorol ddiddorol, yn ddiddorol gyffredinol, ac roedd hynny'n rhan fwyaf o'u hyfforddiant fel eu cerddoriaeth gwych. Ac rwy'n credu, gyda'r Oasis, yn sicr gyda'r gwasanaethau Brifysgol, roedden nhw'n eithaf gyffredinol, roedden nhw'n eithaf eccentric ac roedd hynny hefyd yn rhan o'u hyfforddiant. Ac rwy'n cofio, oherwydd roeddwn i'n dod i ffwrdd rhwng Manchester, roeddwn i wedi cael fynd ac wedi'u cyflawni rhwng Liverpool a Manchester. Ac roedd y cafè'n enw'r 'Oasis Cafe' wrth iddynt ddod yn fawr ac wrth gwrs, roedden nhw'n cael sŵp yn y ffordd yr oedden nhw'n ddweud gyffredinol, 'Rydych chi'n cael rôl gyda'r cafè'. Felly, rydych chi'n gwybod, mae'n rôl, rôl bwyd gyda'r cafè. Felly, ie, 'Rôl gyda'r cafè' oedd single Oasis mawr, os ydych chi ddim yn gwybod. Ond mae'n dda iawn, Tim. Mae'n dda iawn. Roedd hynny'n ddwg, wrth gwrs. Roedd yn wir. Nid oedd yn ddwg, ond fe wnaeth hynny digwydd. Roedd y 'Oasis Cafe' gyda'r logo allan o'r Pâles Affleck.
Speaker 2Ond mae cwpl o sŵn yn y record hwnna yr hoffwn. You know, on any basis, I would say they are brilliant songs and they have it on this record. They have that mixture of great songs, swagger, arrogance, personality and something that you instant is instantly familiar.
Speaker 3Yeah, there's a kind of classic rock familiarity, but also I think as you're talking about the swagger, I think that with Liam Gallagher's voice, he's almost got that kind of Johnny Rotten casual quality in there as well. There's a sort of a not-give-a-shitness about it, which they pull off.
Speaker 2He's a great frontman, he's a great singer, you know, and I think together with Noel's plundering of 20, bless him, you know, the best possible sense of the word, plundering 20, 30 years of pop music and the Beatles' catalogue particularly, and just putting enough of a twist on it, just enough of a twist on it, but it's instantly familiar. There's nothing about that that's going to confront your idea about what music can be.
Speaker 3But it works because there's a conviction in the performance and Noel Gallagher genuinely loves what he's doing. And he writes great songs. Also comes through.
Speaker 2Now, their big competitors during this time were Blur and this album Parklife came out this year. I'm not so familiar with Blur, I have to say, I've never listened to this record, I never was particularly interested in Blur. You're the Blur expert, Tim. Tell us about Blur, Parklife, tell us about this album.
Speaker 3Well, I think one of the reasons why, you know, in the Blur versus Oasis Awards, which, you know, was incredibly childish, I'd have probably sided with Blur, partly because I think Damon Albarn was always a canny songwriter and tunesmith, but I think that he had incredibly eclectic tastes. And you can hear this even in Parklife, where they will go from something that's Bowie and Fripp inspired to something that's quite Scott Walker inspired to the Cockney claptrap of Parklife itself. And they pulled it all off, so there was an eclecticism. That you can then hear later when he's doing Gorillaz, you can hear it in his solo work, that to me, it was never a surprise that they were, let's say, experimenting with Moroccan rhythms or soundtrack elements.
Speaker 2It's much more playful, isn't it, than a lot of the other Britpop. They don't seem content just to, you know, trot out some old Kinks and Beatles.
Speaker 3Not although they've got that in there, the point is that he shows he can do what everyone else is doing, but he's doing six other things. at the same time.
Speaker 2Let's have a quick listen to, I mean, this is the big single off the record, 'Girls and Boys'. I do remember this.
Speaker 3"Dreams like a jungle, so call the police"
Speaker 2So the problem I have with that straight away is I know Damon Albarn comes from a very rich, upper-class family. And he's doing the Cockney Geezer. "I'm a Cockney Geezer" And strangely, when I hear Liam Gallagher doing the Mancunian accent, I believe that's completely, that is him. That's him. He's from Manchester. I believe it. I don't believe that bloke. "I'm a Cockney Geezer" Don't believe it. You think he's a pearly king, don't you?
Speaker 3I think he's faking it. I think he's faking it, sorry. But he was clearly a talent. And I think, yeah, there might have been an element of doing things to gain attention, but he was clearly intelligent, clearly a talent. And on the album, he doesn't just do that. I think anyone who's heard Parklife knows he's doing quite a number of things. And I think the seeds of what he becomes are already on that record. And yeah, it's an interesting thing, because I think we're going to talk probably about Swade's Dog Man Star, because, you know, because Brett Anderson did genuinely come from a working-class British upbringing. And a bit like David Silvey and a bit like Brian Ferry, he was one of these people who was quite aspirational. His music was reaching for the stars, where you get people, as you've said, Damon Albom probably comes from a public school background. And he's doing the, I'm a communicator.
Speaker 2I'm not the biggest fan, but Bruce Springsteen's got this one-man show he's been doing. And one of the things apparently he says in the show is that he always thought of himself as this incredible fake, because his songs are all supposedly about the American blue-collar workers. And they appeal to that demographic. He said, that was never me. That was never me. You know, he was a successful rock star almost from the beginning of his career. He said, I'm writing. I'm writing songs about things that I've never directly experienced. Is that necessarily something that should stop you? Not at all. I mean, you know, I've written songs about nuclear war. I've never been in one. Have you not? No. So, you know. I mean, I think we had
Speaker 3one in Warrington in 1987.
Speaker 2Why should I, you know, write a song about radioactive taught? I've never experienced it. So, you know, is there a sense that just because you haven't experienced it, just because Damon Albom isn't a Cockney geezer, you know, should he be excluded? Not at all.
Speaker 3I mean, I'm all for, you know, Randy Newman. That's an actor, isn't it? He's one of my favorites. Randy Newman came from almost Hollywood royalty. I think his uncle was a composer for soundtracks. His father was extraordinarily affluent. And he writes the most beautiful songs of working-class America with a sympathetic, literate approach. His are almost like short stories. So, of course, you can do it. And you can do it well. But what I guess he's not doing is putting on a stupid Southern. Texas accent and almost, in a sense, patronizing the people he's talking about. The same with Bruce Springsteen. Bruce Springsteen is like a great short story writer. And, of course, we all see things in our lives that aren't directly our lives. You know, I've written songs about the homeless, which aren't like Phil Collins' Another Day in Paradise.
Speaker 2Well, that's the problem, isn't it? When Bono and people like that write songs about, oh, the poverty in the world, you know, it's terrible, isn't it? And you just don't. You just don't believe it. Exactly. It's very hard to relate to that sentiment when you know that it's a multi-billionaire rock star singing about it. But then what else are they going to sing about? You know, we need to move on, Tim, because we're running out of time. But Manic Street Preachers, The Holy Bible, James Wawa, Morrissey, Vauxhall and I, Pulp, isn't it? This is a real high-water mark for Britpop this year. Auteurs, Now I'm a Cowboy. Let's talk about a couple more. You've kind of mentioned it already, Tim. Suede, Dogman and Star. Suede, for me, they were like the Pink Floyd of this scene. Because they really. They're reaching for the stars. They've got that Bowie thing going on. The albums are much more portentous, pretentious, and I mean that in a positive way. They've got more of that tortured artist effect going on, haven't they? And I love it for them. But, you know, Dogman, Star. Are these guys interested in Bowie? Oh, I wonder. Diamond Dogs plus Man Who Sold the World plus Ziggy Stardust. Oh, we've got Dogman, Star. Just take a word from three Bowie titles, put them together. And I always saw that as a little bit of a. A big clue as to where these guys were coming from. And there is a lot of Bowie going on here, but they've got their own sound, haven't they? They've definitely got something distinctive going on, if only in his voice and in the tone of Butler's guitar.
Speaker 3The interesting thing about Suede is that they partly ushered in Britpop. Because they had elements of Bowie meeting elements of Smiths. And their debut album also had some really heartbreaking ballads. A lot of Floyd as well. Yeah, a lot of Floyd. That was the aspect of the music I liked the best. Some of their B-sides, tracks like The Big Time, I think you could see where they were coming from. And on this album, where Britpop has come to the fore, they're a big influence on Britpop. They suddenly do this huge, conceptual, bloated work. And I love it for that.
Speaker 2Yeah, it's a great record.
Speaker 3It's the opposite of what the other bands are doing. And again, although they would lay good claim to writing, "I'm a cockney geese, ah!" They don't do it.
Speaker 2It's pretentious in the best possible sense of the word, isn't it? And you know, one of the things we say on the podcast quite a lot is there's not enough pretentiousness. In contemporary pop music these days, is there? No. We like big gestures. We like artists to risk being humiliated and falling flat on their face, you know? But at least they're trying. They're reaching. It's almost like the opposite of the Oasis effect. It's like, "No, okay, Oasis is great. Fine. We're happy that exists." But we also love bands to be ridiculously pretentious, portentous, reach for the stars, you know? Do something that risks being ridiculous.
Speaker 3The thing about Suede is there's a kind of hysteria. Hysterical, emotional quality as well, which I quite like. And I think with their artwork, I said this before, that the Smiths and Marillion in some ways were two sides of the same coin, in that they had a kind of a bed-sitter intensity, a particular focus on the artwork. And I kind of find that in Suede as well, and the cover for this album has that bed-sit intensity. And they had a great visual identity with the logo that was ongoing and the artwork in addition to the music.
Speaker 2And I believe it. I believe the music. I mean, Brett Anderson's books, by the way, if you haven't read Brett Anderson's books, they are fantastic. He kind of lived the life. I've always found it a little bit difficult to connect with music that has such a kind of a limited musical vocabulary, musical palette. Okay, so it's not the kind of music I would ever listen to. Now, the exception to that is this record, which I think is a fucking masterpiece, "Super Unknown" by Soundgarden. I. Sorry about that. This is a really great record, and I think one of the reasons I like it is for the same reason we were talking about Chris Cornell in relation to Jeff Buckley earlier. He's got that voice that can soar, and he can make an average song sound thrilling just by virtue of the quality of his voice. And the songwriting is brilliant, I mean, "Black Hole Sun", what a great song. And there are unusual chordal shifts. -
Speaker 3Oh yeah, yeah. Well, this is an exception for me, and I think it's a brilliant album. Rwy'n credu bod hyn yn beth eto. Fel gyda Jeff Buckley, mae gennych chi gynhwys sylwad gwych. Mae'r gynhwys sylwad gwych, ac fel gyda'r gynhwys Jeff Buckley, mae'n debyg bod nhw'n adeiladu'r gwedd o'r dechrau '60au, y dechrau '70au, y sîn hard rock. Felly pan oeddwn i'n gwrando ar hynny, beth nad oeddwn i'n ei glywed yw'r hyn y dywedodd pobl ar hyn o bryd: grunge. Mae'r cyfnod o pwnc a metl enfawr. Yr hyn roeddwn i'n ei glywed oedd adeilad newydd o'r math o hard rock elastig rydych chi'n ei glywed yn Free, Bad Company, Led Zeppelin, ac roedden nhw'n ei wneud gyda pwysau anhygoel a gallu fel band, dwi'n meddwl. Ac mae'n hynod o wahanol fel palet sonig hefyd.
Speaker 2Mae'n hynny, ie. Mae llawer mwy o'r, fel rydych chi'n dweud, ddod yn ôl i'r '70au' o cerddoriaeth rock enfawr. Rwy'n clywed llawer mwy o hynny, ond nid yw'n swnio'n dated. Nid o ato. Nid yw'n swnio'n dated.
Speaker 3Dyma'r hyn rwy'n ei olygu. Mae'n re-inventiwn, mae'n re-inventiwn'r '90au gyda'r holl gweithgareddau gynhyrchol y gallai'r '90au ei ddal ar albwm.
Speaker 2Y peth arall rwy'n hoffi am hyn, ac mae hyn yn rhywbeth rydyn ni'n siarad amdano gyda Led Zeppelin hefyd, yw y gallwch chi'n clywed eu bod nhw'n deall y ffonc. Ie. Maen nhw'n cael y grof. Yr holl beth roedd Bonham yn hollbwysig hefyd gyda Zeppelin. Maen nhw'n maen nhw'n cael y swagger a'r groff ffunky yno hefyd. Ac mae ACDC wedi cael hynny hefyd wrth gwrs. A mae rhyw fath o ysbrydoliad R&B yn ei llais hefyd. Mae'n gynhyrchwyr gwych, ffunclist gwych, ie. Rhecoedd eraill sydd wedi dod i ffwrdd y flwyddyn hwn yn y gategoriad hwn, dwi ddim yn gwybod unrhyw un o'r rhecoedd hynny. Green Day, Dookie. Mae'n ddiddorol oherwydd mae fy mab 15 mlynedd yn ifanc na fi a'i holl ffrindiau, ei genedlaeth o ffrindiau, Green Day a Guns N' Roses. Maen nhw i gyd yn ddiddorol o'r ffrandiau hyn. Dwi ddim yn gwybod unrhyw un amdanyn nhw. Roedd hynny'n fy llwyddo i mi yn 1994. Green Day, Dookie. Y llawr cyntaf Weezer. I mi, mae'n swnio'n eithaf traddodiadol. Mae'r swn American Rock yn ddim yn ddiddordeb i mi, ond mae rhai o'r rhecoedd hynny wedi bod yn fawr y flwyddyn hwn, felly rwy'n cwrdd â nhw. R.E.M. Monster. Rydych chi'n yr arweinydd R.E.M.
Speaker 3Mae'n dda, rwy'n hoffi R.E.M. Roeddwn i'n hoffi Automatic for the People. Roedd hyn yn dda oherwydd, yn ychydig fel Swade's Dogman Star, roeddai'n bwysleisio'r bobl a fyddai'n hoffi'r hyn sydd wedi'i wneud yn y blaen. Roedd yn mynd i ffwrdd newydd. Rwy'n hoffi'r ffaith bod, ar y cyfnod o'u hanes, gyda rhai albunau, New Adventures ac Hi-Fi hefyd, nad oeddent yn gwneud yr hyn sydd wedi'u disgwyl iddyn nhw. Roeddent yn gallu gwneud pob un o'u hoffi hyd yn oed yn marw, ac nid oeddant yn gwneud hynny. Ac yr un peth gyda Swade, roeddent yn gallu parhau ar y llwybr Britpop, ond nid oeddant yn gwneud hynny. Ac rwy'n credu mai dyna'r hyn rydyn ni'n ei hoffi mewn cerddoriaeth, pan roedd artistiaid fel Bowie yn gwneud hyn yn y 70au yn gyffredinol. Ar hyn o bryd oeddech chi'n ei gweithio fel rhywbeth, roedd e'n rhywbeth gwahanol.
Speaker 2Iawn, mae gennym tua 12 munud i fynd drwy tua 30 albwm, a'r rhaglenni'r rhaglenni'r rhaglenni'r rhaglenni'r gorau o'r flwyddyn i mi yw 'Future Sound of London's Life Forms'. Ac mae hyn yn ddiddorol. Rwy'n bod yn rhywfaint ffasigus yma, oherwydd dylai hyn fod yn y categoriad electronig. Ond mae rhywbeth am 'Future Sound of London' sy'n hollbwysig yn y traddodiad o gael cerddoriaeth cerddoriaeth rhaglenni, hyd yn oed at y pwynt eu bod nhw wedi cyfeirio i 'Virgin' ac eu bod nhw eisiau'r logo Roger Dean 'Virgin' ar eu recordau. Yn amlwg, maen nhw'n ffans ffans ymwneud â cerddoriaeth technoclwb, ond maen nhw hefyd yn hoffi Tangerine Dream a Vangelis. Yma maen nhw'n gwneud cerddoriaeth cerddoriaeth. Maen nhw'n awdurdod o ddylunio cerddoriaeth. Mae'r cerddoriaeth hon yn swnio'n wych, ond mae'r cerddoriaeth wedi'i ymgymryd â'r cerddoriaeth. Maen nhw'n cymryd samplau o lawer o recordau, a'u cydbwysu gyda rhydymiadau electronig, cynllunio cerddoriaeth, cynllunio cynlluniau, ac mae'n dechrau bod y cerddoriaeth yn y cyfan. Ac rwy'n credu bod hynny'n ei llwyddo. Mae'n dechrau bod yn llwyddo o samplau a'r cerddoriaeth wedi'u cymryd yn gwych. Gan dweud hynny, rydw i'n hoffi'r record hwn. Rydw i'n hoffi'r record hwn, Lifeforms, am ychydig o amser. Gadewch i ni siarad am'r record hwn. Iawn, siarad. Nid oeddwn i'n gwybod'r record hwn hyd at ddwy wythnos yn ôl. Fe wnaethoch chi ei roi i mi ar y cerddoriaeth, ac fe wnaethwn i ei roi ar "Not Expecting Much". Mae'n wych! Mae'n wych! Mae'n y fersiwn Trevor Rabin.
Speaker 3Wel, rwy'n credu bod hynny'n dweud hynny i chi, oherwydd roeddwn i'n meddwl y byddai'n newid eich meddwl am beth roedden nhw'n ei wneud yn y cyfnod hwnnw. Iawn, mae'n wych.
Speaker 2Gadewch i ni wrando. A oes unrhyw un yma sy'n sceptigol am y record hwn a ddim yn ei gwybod? Iawn. I was two, iawn.
Speaker 3Iawn. Gadewch i ni gwneud penderfyniad am eich meddwl. Tim, gadewch i ni siarad gyda'ch hun. Iawn, felly, yn y bôn, dyma'r rhwydwaith 9-01-2-5 o'r band, ac maen nhw wedi cyd-dreulio ym mis y 90au, ar bwynt lle nad oes unrhyw un yn bwysig. Ac maen nhw wedi cyhoeddi tua tri cerddoriaeth stiwdio ar hyn o bryd. Felly, hyd yn oed yng Nghymru, chi'n gwybod, o'r band a oedd yn cyffredinol nifer un, roedden nhw'n cyflawni nifer 58 yn y chartiau. Felly, yn amlwg, roedden nhw'n creu a chreu cerddoriaeth sy'n golygu llawer iddyn nhw, ond nid oedd pobl yn gwrando.
Speaker 2Nid wyf yn clywed band sydd wedi gadael. Nawr, p'un a ydych chi'n hoffi hynny, rwy'n golygu, mae'n cerddoriaeth bwysig iawn, cerddoriaeth sydd wedi cael ei gyflawni, cerddoriaeth sydd wedi cael ei gyflawni. Mae llawer o ddiddordeb Amur. Mae'n dda iawn gan Trevor Rabin. Nid wyf yn clywed band sydd wedi cael ei gyflawni. Ond wrth gweld hynny nawr, rydw i'n meddwl, chi'n gwybod beth? Mae hynny'n record da. Mae hynny'n grŵp sy'n ymgysylltiedig, yn dal i fod yn parhau am beth maen nhw'n ei wneud, ac yn dal i fod yn ffordd. Beth a ddigwydd ar ôl hyn yw peth arall. Ond hyn i mi, roeddwn i'n hynod o ddiddorol, yn hynod o ddiddorol. Ie, rwy'n cytuno. Yn amlwg, dyna pam roeddwn i'n ei roi i chi. Roeddech chi'n ei roi i mi, roeddech chi'n ei hoffi'n fawr iawn. Roeddwn i'n ei hoffi'n fawr iawn. Roeddwn i'n ei roi i chi. Iawn. Iawn. Rhywbeth arall sy'n rhywbeth arall o'r amser y flwyddyn hon yw'r album Marillion, 'Brave', sy'n record concept o 70 munud. Mae'n dda iawn, nid yw'n i? Nawr, roeddech chi eisiau siarad am hyn, Tim, doeddech chi? Roeddwn i? Wel, roeddech chi eisiau siarad am y syniad bod pawb's album yn llwyr 75 munud yn syth yn 1994. Ie, dyna un o'r problemau
Speaker 3dwi'n credu gyda'r era o CD, chi'n gwybod, i mi, y flwyddyn o'r album, rydw i'n credu pan fydd CD yn y fformat, mae pobl yn gweithio i'r fformat. Ac rydw i'n credu bod wedi arwain at albumau'n anhygoel. Felly mae eithaf llawer o'r albumau ambiant, mae'n rhywbeth sy'n gweithio amdano, ond'r album Soundgarden, a dwi'n credu yw'n ffantastig, dwi'n credu y byddai hyd yn oed wedi bod yn well. Mae'n 80 munud yn hir. 2 albumau 40 munud. Ie, rwy'n cytuno. Oherwydd rwy'n credu ei bod yn anodd iawn i'w hysbysu, y math o gymhleth, y math o dyniaeth o'r swn. Rwy'n teimlo'n teimlo'n cael ei ffynnu drwy'r amser. Ac rwy'n credu, gyda'r album Meridian, mae'n ddwy hir, ond mae ganddo bwysau anhygoel. Mae'r band hwn yn ffantastig, maen nhw'n ei ffynnu'n ei hun, maen nhw'n dod â phrofiadau newydd i'w chwarae. Mae'r ffantastig ymddygiadau Talk Talk a Blue Nile yn y album hwn, yn ogystal â ble maen nhw wedi dod o'r dyniaeth, Pink Floyd. Felly eto, mae'r band hwn yn dal i wrando, yn dal i wneud rhywbeth newydd, a gwaith ddyniaeth cyfrifiadol gwych gan ein ffrindiau da, Carl Glover hefyd.
Speaker 2Mae'n record da, ac mae gennych chi'r adroddiad Stephen Wilson Remix yn set bwysau 5lp. Mae'n rhaid i chi ddweud. Felly, rydych chi'n sôn am Pink Floyd. Yn si? Pwy yw hynny? Ie, pwy yw hynny? Chanser. Ie, rydyn ni'n sôn am Pink Floyd. Roedd Division Bell yn dod allan y flwyddyn hon. Rwy'n hoffi'r hyn. Pink Floyd, beth gallaf ddweud? Fy ffantastig. Ie, wel,
Speaker 3mae Division Bell yn ymddangos yn fersiwn mwy naturiol o'r hyn a ddododd ar ei blaen, ar amser o amser, lle maen nhw'n rhywfaint o. Felly, mewn rhywbeth, rwy'n cofio roedd Roger Waters yn ei alw ar hynny fel "A brilliant Pink Floyd forgery". Ac rwy'n gallu deall pam mae'n dweud hynny, ond rwy'n credu bod, drwy Division Bell, maen nhw'n sôn fel band. Mae rhywbeth mwy organig amdanynt. Mae'n eithaf haethol. Dwi'n gofyn am "A Momentary Luxury", ac mae'n un o'r cerddoriaethau hynny. Ie, rwy'n hoffi'r cerddoriaeth. Dwi'n hoffi'r cerddoriaeth, hefyd. Mae'n ymwneud â'r cerddoriaeth sydd wedi cael ei gyhoeddi ar hyn o bryd, ond rwy'n credu mai Division Bell yw'r cerddoriaeth rwy'n ei gysylltu â'n fwy, yn rhan oherwydd y sânsgeithiau sy'n fwy organig, y synnwyr fod Richard Wright yn rhan o'r ysgrifennu ac yn ysgrifennu hefyd. Felly, rwy'n credu ei bod yn albwm da fy hun.
Speaker 2"Zapper Civilization Phase II" a "King Crimson's Vroom" hefyd wedi dod allan y flwyddyn hwnnw yn y gadegfa rock cynhyrchol.
Speaker 3Mae "Kingson's Vroom" yn werth sôn amdanyn nhw oherwydd mae'n cynnwys "Thrack", a oedd yr album stiwdio wedi cael ei gyhoeddi yn ôl. Ac mae "Thrack" mewn ffordd rwydwaith, felly rwy'n hoffi'r cerddoriaeth. Ac yr hyn a allwch chi ei glywed yw, "Fripp", eto, mae'n ddiddorol os ydym yn siarad am hynny o ran album Peter Hamill y flwyddyn heno, "The Roaring Forties". "The Roaring Forties", mae Peter Hamill ar hyn o bryd wedi bod o hyd i'r byd cerddoriaeth. Nid yw'n swnio fel unrhyw beth sy'n digwydd. Nid oes "Tripp Hop", nid oes "Brit Hop", nid oes unrhyw beth yn ei gynnal, ac nid oes "Grunge". Felly mae "King Crimson" yn gwybod bod y bandau "Grunge" yn cyfrannu "Red" fel effaith. Roedd y cynhyrchwyr, Butch Vig, yn fan enfawr o "Red". Byddai pobl fel Kurt Cobain wedi gwybod "Crimson". Byddai "Soundgarden" wedi gwybod "Crimson". Ac rwy'n credu bod "Crimson" yn cyffredinol yn dod yn ôl elfennau o'u sain ymlaen y 70au i'r 90au. Ac maen nhw ar ffyrdd. Felly roedd "Vroom" yn cael ymrwymiad wir iawn amdanynt. Ac yn ymddygiad wir o'r band o'r 70au, sy'n ailgylchu eu hunain yn y 80au. Yn ailgylchu eu hunain eto i'r palet sain 90au a oedd yn ymddygiad â'r sain fach o "Grunge".
Speaker 2Gadewch i ni siarad am ddiddorolrwydd cerddoriaeth. Yn gyntaf, "Prince Come", "Madonna", "Bedtime Stories", "Everything But A Girl We Talked About", "Sealed 2" ddod allan. Ddyn i'n ffavorit cerddoriaeth y flwyddyn ydw, dwi'n dweud, mae'n dod o'r ffyrdd pwysicaf pop. Fodd bynnag, maen nhw'n rhywbeth sy'n llwyddo mewn ffordd. Yn ymddygiad, "The Jamiroquai Album", "Return of the Space Cowboy". "The Jamiroquai", "Eternally Unfashionable", yn sicr yn y DU. Rwy'n credu bod llun o'r prynhawn cerddoriaeth wedi'u cymryd fel rhywbeth naff, rhywbeth retro. Rwy'n ei hoffio'n fawr. A'r album hwn, "Return of the Space Cowboy", rwy'n ei ddweud i chi, rwy'n mynd i chwarae y llun agored yma. "Just Another Story", sy'n ffermwyr o 9 munud. funk jazz funk epic they're just so brilliant at what they do and yes it's nostalgic and yes it's familiar stevie wonder crusaders you can hear earth wind and fire you can hear all this stuff um this track we were talking earlier about how nowadays we expect everything to be quantized perfectly in tune this is a band on fire cutting a track live in the studio fucking love it jamira anyway right um we need to move on we got about two minutes left so two minutes and 50 albums yeah out with about 50 albums yeah albums we haven't had time to talk about i'm afraid uh and i don't think we are going to have time to talk about um neil young sleeps with angels great record great album
Speaker 3neil young still being in very joanie
Speaker 2mitchell's turbulent indigo good album laurie anderson's bright red really good brian eno's involved toriate drinking game favorite tori amos under the pink julian copes all together and shenado connor's universal mode it's a great year isn't it another arthur russell another thought david burns self-titled album nick cave let love in sparks christian hearse so some other great albums going on and i you know own quite a few of those you know the sparks the tori amos great albums but we haven't got time to talk about any of those things because as usual we've overrun on the albums we have talked about tim yeah so the end of everything else have we missed anything no i don't think so well we probably have but but those are the ones on our list talking we always at the end of every podcast where we talk about a year we try to pick each of us try to pick our favorite album from the year and the album we feel has had the most long-term influence on popular music so tim what would be your first your favorite album of the year i don't
Speaker 3know i suppose you know portis head was one of those albums that i absolutely loved at the time and played to death the nine inch nails i adored and still adore there were quite a number of records that i could say that you know still have some time and as we said the jeff buckley album as soon as you heard it as soon as i saw him live and as soon as you hear the album you knew it was going to be something you'd be talking about 10 years 20 years from that point yeah i mean i
Speaker 2would pick nine inch nails downward downward spiral is probably my favorite album of the year and it still sounds amazing to me it still sounds amazing um in terms of the the the most influential record i mean you have to look at portis head obviously yeah as a sound that was very much imitated um and i think the neoclassical
Speaker 3as well the neoclassical yeah it's still so much a part of contemporary music that in some ways that carl jenkins neoclassical sound appeals to your dad is all over television films and very
Speaker 2symptomatic of the way music has gone playlist culture um you know music for yoga music for coffee break music for sleeping music for insomniacs all of these playlists where these kind of songs just this this music effortlessly fits into that and i
Speaker 3would have said if we'd have done this show maybe three years ago i would have said i would have done this show maybe three years ago i would have said i would have done this show maybe three years ago i would have done this show maybe three years ago i would have probably said the nas album but i think that hip-hop's influence at the moment it will probably come back but it does feel as if that's waned in the last two three years possibly
Speaker 2i think like a lot of music it's struggled it's got to a point where it's been so progressive for so long that it's now struggling to reinvent itself particularly in the era where people's attention spans are getting shorter and shorter and shorter but yeah the nas the nas album for me was the revelation from this year of albums i actually think it's it's a very good record yes sir yeah how much did we pay this bloke to come and sit there i got him quite cheap 200 euro okay we'll we'll make the direct debit transfer to you no we'll look i mean obviously thank
Speaker 3you very much we did debate discussing flower mouth and even the album i did with richard barbieri this year no i didn't want to discuss that shit um and we thought in the end that this is about other people's music but yeah flower mouth was an amazing album to make and obviously i could indeed talk about two hours about how it was made the people we work with and the fact that it you know for me i think was a template for what we went on to do in terms of the idealism because a little like the suede album we went against everything that was particularly popular and fashionable in the british press and we just made something that was beautiful and important to us and worked with some musicians who we held in high esteem and we still hold in high esteem robert fripp oh for fuck's sake jason
Speaker 2barbieri and khan i was waiting for the robert fripp to come in right robert fripp otherwise thank you so much for listening we managed to keep that to two hours
Speaker 3that was tough on a drinking game period i was going to say the peter hamill album is interesting because he does a 20 minute finished him he's finished he does a 20 minute track which evokes vandergraf generator and of course vandergraf are about to you know would you like to get all the other drinking game favorites in now and then there's a beautiful song that ends the album i think is it your tall ship you'll know it i don't know what you're talking about now peter hamill's i've never heard that record no what i don't know that peter hamill record there's only one response
Speaker 2to that fine anyway okay well whatever uh all your drinking game favorites robert fripp brian eno kate bush david sylvan mark hollis uh brian noel blue nile even the blue noel yeah david bowie all that david bowie of course all those all your drinking favorites so just just so you understand the context of this the people that listen to the podcast have a drinking game where they know there's certain artists we will always shoo we can be talking about some obscure album a rock and roll album from 1958 and tim will somehow get robert fripp into the conversation or brian eno it's true listen elvis presley because
Speaker 3obviously scotty moore was influential on robert fripp exactly django reinhardt influential on robert fripp so they
Speaker 2have this drinking game every time tim mentions robert fripp they have to have a drinking game they have a shot of vodka or something so uh it was started by a teacher in birkenhead i believe yeah don't try it at home is all i'll say thank you very much folks hope you enjoyed it i'll see
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