Seven Ages of Rock
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Seven Ages of Rock was a BBC Two series, co-produced by BBC Worldwide and VH1 Classic in 2007 about the history of rock music.
It had six 60-minute episodes (reduced to 48 minutes for VH1 classic), with a final episode of 90 minutes, and aired on Saturdays at 21:00 (repeated on BBC One on Sundays). Each episode focused on one type of rock music, each typified by one or two artists or bands. The series producer was William Naylor, and the executive producer for the BBC was Michael Poole, a former editor of the 1990s BBC music, arts and culture programme The Late Show. The production was based at BBC Bristol and each programme was narrated by Julian Rhind-Tutt on the BBC and Dennis Hopper on VH1 classic.[1][2]
The series also included additional material broadcast on BBC radio and available on the BBC website.
[edit] Series structure
The series makes heavy use of archive material. These early performances of musicians are interspersed with interviews with various other musicians. Naylor could use interviews from various other music series he had made for the BBC, such as with David Bowie, who was not available for an interview this time.
In an interview about the series, Naylor says that he has noticed the time is ripe for a revival of rock because he sees a growing popularity of slightly uncomfortable music and a somewhat arrogant attitude, precisely what rock needs.[citation needed] He also claims the series finally says what needed to be said, that England made Jimi Hendrix. He even states that rock music started on 24 September 1966 in London, when Jimi Hendrix went there.
The series did receive some criticism from the press as it ignored rock and roll's contribution to the birth of rock. Neil McCormick, music critic for the Daily Telegraph (who appeared in one of the episodes as an interviewee) said: "...popular music only really gelled into what we now know as rock when Hendrix arrived in London in 1966."[2]'
[edit] Episodes
Title | Genre | Main artist(s) | Original BBC air date | Origin of Title | |
1 | The Birth of Rock | Blues rock | Jimi Hendrix | 19 May 2007 | The First Episode in the series |
VH1's 1 | My Generation | The Birth of Rock | The Rolling Stones The Who |
No BBC broadcast, 17 December 2007 On VH1 Classic | The Who's first Album/ Song from the album (1965) |
2 | White Light, White Heat | Art rock | Pink Floyd David Bowie |
26 May 2007 | The Velvet Underground's second Album/ Song from the album (1968) |
3 | Blank Generation | Punk rock | Sex Pistols The Clash |
2 June 2007 | The Voidoids first album/Song from the Album (1976) |
4 | Never Say Die | Heavy metal | Black Sabbath Ozzy Osbourne |
9 June 2007 | Black Sabbath's eighth album/Song from the Album (1978) |
5 | We Are the Champions | Stadium rock | Queen Bruce Springsteen |
16 June 2007 | Song by Queen from News of the World (1977) |
6 | Left Of The Dial | US Alternative rock | Nirvana R.E.M. |
23 June 2007 | Song by the Replacements from Tim (1985) |
7 | What The World Is Waiting For | British Indie rock | The Smiths The Stone Roses Oasis The Libertines |
30 June 2007 | Song by the Stone Roses, released as a double A-side with Fools Gold. |
[edit] Programme 1: The Birth of Rock
Performing bands, in order of appearance |
---|
Jimi Hendrix |
Howlin' Wolf |
The Rolling Stones |
The Yardbirds |
Bob Dylan |
The Who |
Tim Rose |
Cream |
The Beatles |
Jimi Hendrix grew up in Seattle in the 1950s, learning the Twelve bar blues as a teenager. Whilst in the army he came under the influence of the electric blues of artists such as Howlin' Wolf, B.B. King and Muddy Waters. After he was discharged in 1962 he became involved in the Chitlin circuit, playing with figures such as Little Richard.
Former Animals member, Eric Burdon, says Hendrix could not get off the ground in the US because black blues was not popular there. Meanwhile, the English music scene was learning to play the blues from the US records they bought, with bands forming like The Rolling Stones, who began by copying American blues numbers. When they started to write their own songs they gave them a sexual swagger and a new direction. Whites playing the blues made it more acceptable to the white US audience reintroducing the style to America. When Hendrix moved to New York he came under the influence of British blues music, especially that of Jeff Beck of the Yardbirds and Eric Clapton, who had become famous with John Mayall's Bluesbreakers. While Living in Harlem he also came under the influence of Bob Dylan, whose Like A Rolling Stone revolutionised rock. For Hendrix this inspired him to begin singing, having previously been self-conscious about his voice. Another English band, The Who, inspired him most. With a roughness and a high octane sound, they created the modern stage presence with the theatrics of destroying their equipment, such as playing the guitar by ramming it against the floor and speakers.
Jimi Hendrix came to London in late 1966 after having been discovered and invited by his future manager Chas Chandler of the Animals, on the sole condition that he would be introduced to his guitar heroes. He arrived at the height of swinging London with Cream being the most important band around. At one of their concerts, Hendrix asked if he could join in a jam. That was already audacious, playing with 'God', but then he blew Clapton away, who went back stage and had a hard time lighting a cigarette because his hands were shaking too much. Stealing Cream's thunder, Chandler put together The Jimi Hendrix Experience, who beame famous faster than almost any other rock band.
However, despite his UK success, Hendrix was still largely ignored in his home country. This was to change when he played the Monterey Pop Festival at the height of The Summer of Love. The Who played first, with an aggression never before seen in the U.S.A. Hendrix stunned the crowds further with his explosive sound and showmanship culminating in setting fire to his guitar.
In 1966, the Beatles had taken refuge in the studio, transforming themselves from a pop band to psychadelic pioneers. When Sgt. Pepper's Lonely Heart's Club Band was released in 1967, Hendrix covered it on one of the experience's next shows. Having seen the power of the studio album he went on to create Electric Ladyland. However, it led to Hendrix becoming more deeply involved in drugs and Chas Chandler leaving as manager.
By 1968 America and Europe were being torn apart by conflict at home and abroad. The Rolling Stones tapped into these feelings with a new creative zeal. However, their performance at Altamont became one of the most violent days in rock history. The Altamont festival was meant to mirror the Woodstock Festival, where Hendrix delivered a seering version of the Star-Spangled Banner, which many saw as a political statement against the Vietnam War. However, Hendrix began to tire of stage performance and at the Isle of Wight festival in 1970 he gave a lack lustre performance. In September he died of an accidental overdose. Along with the deaths of Jim Morrison and Janis Joplin and the breaking up of The Beatles, this brought this age of rock to a close.
[edit] Alternative Programme 1: My Generation
The broadcast of the VH1 episode is very differently structured and features several different songs, interviews, and artists, as well as the main focus, Jimi Hendrix, being completely removed and the new focus being the Rolling Stones. This is not an issue with other episodes which are only mildly different.
Performing bands, in order of appearance |
---|
John Lee Hooker |
Howlin' Wolf |
The Rolling Stones |
The Yardbirds |
The Kinks |
The Who |
The Animals |
Bob Dylan |
Cream |
The Beatles |
In the early 1960s the music for teenagers was sweet and soulless, manufactured pop with a beat for crooners such as Bobby Vinton and Bobby Vee. The music of blues singers such as John Lee Hooker, Muddy Waters and Howlin' Wolf was powerful and rebellious and had come out of struggle in a way that spoke to the British Working Class, who were not politically constrainted as they were in white America.
In 1962, the Rolling Stones formed and started playing in the Crawdaddy club in Richmond. Their Blues with a British twist proved a hit with teenage audiences. Their space at the Crawdaddy club was taken by The Yardbirds, who attempted to produce their own twist on the blues, helped by their guitarist Eric Clapton, who was considered by some to be God. However, he split from the Yardbirds after their commercial success to become a serious blues musician. The Rolling Stones began create their own songs loaded with arrogance and sex.
A new wave of British bands were now emerging. The Kinks produced an electrified gritty sound expanding musical possibilities. Inspired by them, The Who combined a macho image, pop art and fast driven rock. In 1965, year zero of rock, the Who released a song that defined the era, My Generation and was incredibly innovative in both its sound and rebellious message.
The Animals had first opened the path for these bands with the reimagining of the House of the Rising Sun, which they came across when it was covered by Bob Dylan from the New York folk scene. He now took inspiration from these new British bands by going Electric to produce "the Wild Thin Mercury sound of Rock Music", which added sophisticated lyrics to Rock.
Back in Britain, Eric Clapton had found creative freedom in his own band Cream, which were much more musically skilled than most other groups at the time. They took the language and feel of the blues producing the 'endless-solo'. Disraeli Gears took the blues and combined it with the drug-filled psychadelia, showing the artistic potential of rock.
When the Who went to the Monterey Pop Festival, they innovated the live performance by channelling aggression, playing at high volume and destroying their instruments. This established the festival as the centre of the rock performance but also signalled the end of the innocent optimism of the summer of love. Anxieties over the Vietnam war and social unrest rising and, after the Woodstock Festival, business started to take over what artists were doing. This new mood was channelled by the Rolling Stones using darkness as a new creative zeal. However, they were plunged into their own darkness with the death of Brian Jones and the chaos of Altamont, where the innocence of the Sixties finally died.
Many of this episodes featured songs are completely different so are listed separately here:
Artist | Song | Year | UK Chart |
US Chart |
---|---|---|---|---|
John Lee Hooker | Boom Boom | 1962 | - | - |
Howlin' Wolf | Spoonful | 1960 | - | - |
The Rolling Stones | Not Fade Away | 1964 | 3 | 48 |
The Rolling Stones | Around and Around | 1964 (Five By Five EP) | 1 (EP chart) | - |
Howlin' Wolf | How Many More Years | 1951 | - | - |
The Rolling Stones | Little Red Rooster | 1964 | 1 | - |
The Yardbirds | For Your Love | 1965 | 3 | 6 |
The Rolling Stones | The Last Time | 1965 | 1 | 9 |
The Rolling Stones | Satisfaction | 1965 | 1 | 1 |
The Kinks | You Really Got Me | 1964 | 1 | 7 |
The Who | I Can't Explain | 1965 | 8 | 97 |
The Who | My Generation | 1965 | 2 | 74 |
The Animals | House of the Rising Sun | 1964 | 1 | 1 |
Bob Dylan | Like A Rolling Stone | 1965 | 2 | 4 |
Cream | I Feel Free | 1966 | 11 | 116 |
Cream | Crossroads | 1968 (Wheels of Fire Album) | 3 | 1 |
Cream | Sunshine of Your Love | 1967 (Disraeli Gears Album) | 5 | 4 |
Cream | White Room | 1968 (Wheels of Fire Album) | 3 | 1 |
The Rolling Stones | Gimme Shelter | 1969 (Let It Bleed Album) | 1 | 3 |
The Rolling Stones | Sympathy For The Devil | 1968 (Beggar's Banquet Album) | 3 | 5 |
[edit] Programme 2: White Light, White Heat
Performing bands, in order of appearance |
---|
Pink Floyd |
The Velvet Underground |
David Bowie |
Hype |
Roxy Music |
Genesis |
In 1967, Pink Floyd published "Arnold Layne", a song about a clothes-stealing transvestite, introducing a new concept in pop music, psychadelia. Like Andy Warhol did with Velvet Underground in the US, they turned their shows into multimedia spectacles. Warhol came up with the idea of projecting films on the background of the stage. With Peter Jenner seeing Pink Floyd as the English version of the Velvet Underground, they decided to use this medium to illustrate the songs they were singing, projecting what effectively were the first music clips on a large screen behind the band. The shows grew ever more weird, and others followed. David Bowie was inspired by the weirdness of Velvet Underground and the madness of Pink Floyd's Syd Barrett (as exemplified by his Jugband Blues). Bowie created an alter-ego named Ziggy Stardust, which gave him an excuse to dress up on stage. Genesis' Peter Gabriel took Bowie's stage act even further dressing in even more elaborate and bizarre costumes; "Compared to what Gabriel wore on stage, Bowie was dressed for a night at the pub".
Another new thing in rock music was experimenting with sounds. Roxy Music introduced an oboe to rock. And when Pink Floyd wondered what a piano would sound like through a Leslie speaker, they came up with the intro to Echoes, a piece that lasted the entire second side of the album Meddle. The stage performances of songs could also last much longer than the album versions. The performances grew so large that Pink Floyd felt ever more alienated from the audience and decided to 'protest' against that by putting up such a large performance with huge puppets for the stage show of The Wall that the band became almost invisible. During the show they built up a wall on stage between themselves and the audience making them literally invisible. This performance lasted only four shows and marked the end of this age of rock.
It should be noted that the VH1 version is slightly different. David Bowie's early influences are discussed in less detail, there is no discussion of Bowie and Roxy Music playing the Rainbow theatre and Hang On To Yourself- David Bowie, Ladytron and Re-make Remodel are not featured with the section on Roxy Music being much smaller and Supper's Ready- Genesis is played but not discussed except in relation to costumes.
In this episode some of the featured songs on the BBC website were not the same as featured in the episode as The Velvet Underground - Venus In Furs is replaced by The Velvet Underground - All Tomorrow's Parties.
[edit] Programme 3: Blank Generation
Performing bands, in order of appearance |
---|
The Ramones |
Patti Smith |
Television |
Richard Hell & The Voidoids |
The Damned |
The Sex Pistols |
The Clash |
The Buzzcocks |
The Slits |
Public Image Ltd. |
In 1975, New York City was near bankruptcy and no fun at all. London was little better. In this tale of two cities, from the worst of times came the best of times: punk rock. Punk went back to the roots. If people saw a show they should get the feeling that they could do that themselves; that is what rock & roll is all about. Punk was DIY; the bands invented themselves and the punkers made their own clothes.
The Ramones sang about the street life experiences of kids in Queens. The Sex Pistols started with covers of mod classics by the Who, but of course they soon went DIY too in that respect, although that didn't prevent Glen Matlock from letting ABBA's SOS inspire him for the guitar riff in Pretty Vacant.
Punk was class rage. "The New York punks were bohemians or aspired to be, and the London punks were yobs or aspired to be." According to Sex Pistol Johnny Rotten the indignation wasn't put on; "We suffer and you can fuck off for it."
Punk was about doing new things and punk girl bands like Siouxsie and the Banshees and the Slits were new in a new way; "We wanted to do our own girlie whalloping thing and punk was open enough for us to do that." And Patti Smith wasn't about music, but about language, almost like a free style rapper; "Spitting out something that goes right into your head."
When the Sex Pistols went to the US, they wanted to show them what punk was really about, but instead it destroyed them. They had no fun, so they decided to take that to the extreme in their last show in San Francisco in 1978, playing a typically raucous show, and ending (as an Encore) with a cover of the Stooges song 'No Fun'. Before going off stage, Johnny Rotten remarked "Ever get the feeling you've been cheated?" Rotten later commented: "That was directed to the whole world, including us."
It should be noted that in this episode some of the featured songs on the BBC website were not the same as featured in the episode. These include the episode not opening with Iggy and the Stooges-No Fun but the Sex Pistols version (although is not named until the end of the episode), the Buzzcocks-Time's Up, being replaced with Ever Fallen in Love, The Slits only featuring one song Typical Girls, rather than the three featured on the website, and Public Image Ltd-Poptones appearing in the episode.
It should also be noted the VH1 broadcast was substantially different to the BBC. No discussion was made of Johnny Lydon joining the Sex Pistols or the recording of New Rose, an increased discussion around the Ramones and their Radio City Hall gig, The Clash's Career Opportunities replaced White Man in Hammersmith Palais and featured prior to White Riot. Also there was no mention of The Buzzcocks, the Punk girl bands or Public Image Limited, instead the episode playing out to London Calling by the Clash.
[edit] Programme 4: Never Say Die
Performing bands, in order of appearance |
---|
Black Sabbath |
Deep Purple |
Judas Priest |
Iron Maiden |
Mötley Crüe |
Ozzy Osbourne |
Metallica |
Heavy metal is the music critics love to hate, but also the longest lasting mainstay of rock music. More than any other band at the time, Black Sabbath were influenced by their surroundings, heavily industrialised Birmingham. This was even more true for guitarist Tony Iommi, who cut off the tips of two fingers in a steel factory. When he tried to solve this problem by melting a washing up liquid bottle, and forming two 'thimbles' for his fingers, he found that by tuning his guitar down three tones (to C#), he could play just as easily, and also get a very different, altogether much darker sound (although this wasn't used until their third album). Another inspiration for the band came from the movie theatre across the street. Sabbath decided that if people were eager to pay money to be scared, then maybe they should play scary music. In 1971, when Deep Purple were in Montreux to record the album Machine Head, they were themselves scared by a fire in the casino when "some stupid with a flare gun burned the place to the ground" during a concert by Frank Zappa and the Mothers of Invention. Since their recording studio was also in the casino, they decided to make the album in their hotel. On the last day they needed to record one more song and decided to simply tell the story of their recoding session, which became the lyrics to Smoke on the Water.
Judas Priest introduced twin lead guitars in rock music. When in 1976 Punk dominated the rock scene, they adopted a leather and studs look, which they thought went rather well with their macho look, not knowing the gay background it came from - singer Rob Halford, who suggested it, hadn't yet 'come out of the closet'. Priest were rewarded for continuing Heavy Metal when it slumped in the late 1970s. But a few years later, the New Wave of British Heavy Metal was spearheaded by Iron Maiden. In the US, a new twist emerged with Glam metal, with a fluffy hair spray look inspired by Hollywood and made known by Mötley Crüe. Sabbath's Ozzy Osbourne made the most unexpected return in rock, despite his 'recreational pursuits' (involving lots of alcohol and cocaine).
By the end of the 1980s, Metal had become too commercial for some fans, with groups like W.A.S.P, Hanoi Rocks and Poison having huge success. Influenced by the New Wave of British Heavy Metal, another new sound had risen to prominence in the US, where metal had a huge following: thrash metal, a style that went beyond in many respects, being faster and heavier than anything that had come before. But playing the guitar ever faster had reached a ceiling and at the turn of the decade, Metallica, one of the inventors of thrash, decided to turn that around and adopt a very slow, heavy, sound. The result was 'The Black Album' which went on to sell over 15 million copies and "proved that metal, never in fashion, but never out of fashion, will always just keep on going".
[edit] Programme 5: We Are the Champions
Performing bands, in order of appearance |
---|
Led Zeppelin |
Kiss |
Bruce Springsteen |
Queen |
The Police |
Dire Straits |
U2 |
One of the first big bands of stadium rock was Led Zeppelin, who played to audiences of 50,000. They were so successful that they could take 90% of the revenue, leaving only 10% for the promoters, who were used to taking the largest slice of the pie. But in the case of Led Zeppelin even 10% was worth their while. Queen took this even further and played for audiences of 130.000, filling big stadiums. This was in part due to the act they put on. In the US, Kiss took that even further, ignoring the music and focusing purely on the act. They made their money largely from merchandise, which was bought by kids who knew nothing of Rock and Roll and the merchandise alone gave them a revenue of 50 million dollars per year. In the US, Bruce Springsteen also became one of the icons of stadium rock, almost against his own will. He kept playing clubs when he could have been playing theatres and he kept playing theatres when he could have been playing stadiums. But ironically, it was exactly this 'regular guy' attitude that made him big.
When The Police had made it in England, they first financed their own tour of the US (where for a while they became the biggest band) and then started going to countries where few other western bands had gone before. Queen did something similar by touring South America and filling huge football stadiums. And in Japan they were received like the Beatles. This was all topped by Live Aid, which was heard by a third of the world population. Bob Geldoff: "It turned out the lingua franca of the world was not English, but Rock and Roll."
U2 was the last great band to emerge from stadium rock. Zoo TV brought the tv on stage. And they introduced another new phenomenon, the B stage, in the middle of the audience, where they were totally surrounded by them, thus reversing the ongoing development of the bands getting ever further separated from their audiences.
[edit] Programme 6: Left of the Dial
Performing bands, in order of appearance |
---|
R.E.M. |
Black Flag |
The Replacements |
Husker Du |
Mudhoney |
Nirvana |
Pearl Jam |
Pixies |
"Seattle, Washington, USA. In the early 1990s the music capitol of the world. Home to grunge, teen sprit and the kings of alternative rock, Nirvana, the band that brought the sound of the American underground to a mass audience." Alternative rock was a reaction to the shock treatment of reaganomics, leading to generation X, that couldn't identify with the studio-polished rock that filled mainstream radio and MTV. Nirvana's Kurt Cobain and Krist Novoselic were part of this generation and inspired by groups such as Black Flag, who played a more fitting musical style, hardcore punk. Alternative rock was in the early 1980s called college rock because it was mostly played by campus radio stations, who broadcasted in the lower bandwidths that were not shown on the dials of radios, so listeners had to turn the knob 'left of the dial'. These were also forced to tour constantly and play in small venues with groups such as The Replacements and Sonic Youth.
The founding band of alternative rock, R.E.M., toured non-stop from 5 April 1980 to the end of 1989, so they laid down their guitars and Peter Buck picked up a mandolin, resulting in the song "Losing My Religion", that would be the start of the sound that gave them worldwide fame. Nirvana experienced a similar change, starting with Cobain's song "About a Girl", which he was unsure about because it was so 'poppy'. Another inspiration for their new sound was the way they started every recoding session, taking half an hour for a free-style jam, in which they experimented with how soft or how loud they could play. Cobain liked the contrast and had always wondered what it would sound like if one mixed Black Sabbath with the Beatles. He dreamed of noise and melody, hard guitars and harmonies. Nirvana created a sound that blended the fury of grunge with a new feel for melody and the mass commercial appeal of R.E.M., leading to what would become alternative rock's anthem, "Smells Like Teen Spirit". There were some reservations about the song because it sounded like a Pixies rip-off, a band that had been playing exactly that dynamic mix of soft and loud music. Thanks to the success of Nirvana, R.E.M. and Mudhoney, Alternative Rock and Grunge went mainstream and record companies bought up as many of these small bands as possible, leading to the commercial success of groups such as Soundgarden, Alice in Chains, Smashing Pumpkins and Pearl Jam
Nirvana put Seattle on the map, so REM went there too. There was even talk of the two bands performing together, but Kurt Cobain's untimely departure prevented that. Cobain admired R.E.M. because they had achieved everything without compromise, while he had become part of the machine he despised. After he had already become rich, he still bought cothes in Salvation Army stores. Fans knew this, so there would be some 80 of them waiting at the store, just to watch what clothes he would buy, even cracking the window as they peeked in. Some can handle that sort of attention, some can't. Kurt couldn't. He joked about naming their new album I hate myself and I want to die (in stead it would be called In Utero). Five months after Nirvana's famous unplugged session, in April 1994, he killed himself, despite efforts by R.E.M.'s Michael Stipe to get him back on his feet again. Cobain's suicide note read the words of Neil Young "It's better to burn out than to fade away".
It should be noted the VH1 broadcast was different from the BBC. The End of the World As We Know It - R.E.M. does not feature and instead opens to Here Comes A Regular - The Replacements (although unnamed), Husker Du do not feature and are not mentioned, Sonic Youth's Goo album is mentioned and shown in relation to their signing to a mainstream label, Pearl Jam are discussed in slightly more detail, Something In The Way and Comes As You Are by Nirvana are not featured and the discussion of unplugged is reduced and only featured in relation to Cobain's suicide.
[edit] Programme 7: What The World Is Waiting For
Performing bands, in order of appearance |
---|
The Smiths |
The Jesus and Mary Chain |
The Stone Roses |
The Happy Mondays |
The Inspiral Carpets |
Blur |
Oasis |
Suede |
Coldplay |
Stereophonics |
The Libertines |
Arctic Monkeys |
Franz Ferdinand |
Kaiser Chiefs |
The British Indie scene flourished in Manchester in the early 1980s. Manchester was transformed by The Smiths, through Morrissey's lyrics into a place of epic romance as part of a critique of the hard northern working class life under Thatcher. The Indie scene was diverse and contained bands such as The Cocteau Twins, The Fall and The Jesus and Mary Chain. By 1986, The Smiths had become one of Britain's most established band's, a record deal with label EMI had been agreed and they began to play larger and larger venues in the U.S. However, this brought its own pressures and eventually this contributed to The Smiths splitting in the summer of 1987.
This split coincided with the rise of house music and the development of a new wave of indie bands giving the music “a psychedelic twist”. The Stone Roses, combined indie, house and a "west-coast" psychedelic feel, with rhythms at the forefront of the music and instrumentals crossing into the world of dance. In 1989 they played the The Empress Ballroom in Blackpool, popularising the new scene and led to the media spotlight falling on “Madchester”, containing groups such as The Happy Mondays and The Inspiral Carpets. Blur were made to put out a record based around the Madchester sound, but this was not the band's own sound but following there record company's wishes.
In the summer of 1993 Oasis signed to Creation Records and began gigging up and down the country, then moving to London once they had an established fan base. This was perfectly timed as the centre of Indie music had moved from Manchester to London due mainly to the influence of Suede. Suede had an image around dark glamour and sexual ambiguity, being declared the leaders of Britpop. This section is where reductive shades into absurd. Blur's second and third albums truly launched Britpop, going to the top of the album charts crossing them to mainstream, this was soon followed by Oasis’ debut, creating a scene encompassing groups from Pulp to Elastica. In August 1994, Blur and Oasis had a sales battle for the number one spot with Blur getting to number one just. However, Oasis’ (What's the Story) Morning Glory? became one of the biggest selling albums of all time, with them being called the “Voice of a generation”. They sold out football stadiums and indoor arenas making it hard for them to find venues. In early 1996 they organised a festival at Knebworth for 125,000 people to which one in 20 people in the UK applied for tickets. However, this was as big as Indie music was going to get, as many felt they could no longer be truly called Indie. It simply became a general term for the sound of British rock fuelled by market chasing with bands producing “insipid records”, including groups like Travis, The Verve, Coldplay and Stereophonics.
The Libertines attempted to bring Indie music back down to earth. Like The Smiths before them there concerts focused around direct interaction between band and audience. They also held spontaneous guerrilla gigs at fans homes and pioneered the use of the internet for bands. However, when Doherty's drug habit spun out of control, creating tension in the band, it eventually lead to their split in 2005. Many new guitar bands have risen to prominence in recent years, such as Franz Ferdinand and Kaiser Chiefs, with some, such as Arctic Monkeys, displaying their influence from the Libertines.
[edit] Additional material
As well as the TV Series the BBC also produced radioshows and created the website, which contains much additional information. Also a series of short films are available on the website, usually 3-5 minutes long, most of which do not appear on the finished programmes. These are:
[edit] Blues-based rock
- The Blues: Discussion on the nature of the blues. Features Charles R. Cross, Keith Richards, Robert Plant and Roger Daltrey.
Note:Actually links to 'David Byrne on the Talking Heads', so all that is available is a clip of Cross saying "The Lyrics to the Blues had always been about Sex"
- When Dylan Went Electric: Discussion of when Dylan went electric and the influence and controversy it caused. Features Charles R. Cross, Barry Miles, David Fricke, Robbie Robertson, Joe Boyd.
- Tommy: Recollection of the creation of Tommy. Features Roger Daltrey.
- Guitarists of The Yardbirds: Discussion on the importance of the guitarists of the Yardbirds. Features David Fricke, Mike Vernon, Charles Shaar Murray, Jeff Beck, Jimmy Page and Chris Dreja.
- The Breakup of Cream: Recollection of how Cream broke up. Features Ginger Baker and Jack Bruce.
[edit] Art rock
- Wish You Were Here: Recollection of the creation of the Wish You Were Here. Features Roger Waters and David Gilmour.
- Ladytron: Recollection of the creation of Ladytron. Features Andy MacKay, Phil Manzanera and Bryan Ferry.
- Lindsay Kemp On David Bowie: Recollection of early David Bowie. Features Lindsay Kemp.
- Shine On You Crazy Diamond: Recollection of Barrett turning up at a Pink Floyd recording after a seven year absence. Features Richard Wright, Roger Waters, David Gilmour and Nick Mason.
- Art Schools: Discussion on the importance of Art Schools in the creation of Rock artists and groups. Features Charles Shaar Murray, Barry Miles and Pete Jenner.
[edit] Punk
- Talking Heads with David Byrne: Recollection of the early days of 'Talking Heads' and the creation of Psycho Killer. Features David Byrne.
- Anarchy in the UK: Recollection on the creation of 'Anarchy in the U.K.'. Featuring John Lydon, Glen Matlock and Jon Savage
- New Rose: Discussion on the creation of 'New Rose' and its influence. Features Charles Shaar Murray and Brian James
- CBGBs: Discussion on the importance of CBGBs. Features Bob Gruen, Charles Shaar Murray, Debbie Harry and Richard Hell.
- New York Dolls: Discussion of the New York Dolls. Features Lenny Kaye, David Johansen, Tommy Ramone and Debbie Harry.
[edit] Metal
- Recording Volume 4, Bel Air, Los Angeles, Summer 1972: Recollection of the hedonistic sessions for 'Black Sabbath, Vol. 4'. Features Tony Iommi, Geezer Butler and Bill Ward.
- Grunge V Metal, 1991: Discussion on how Heavy Metal was influenced by Grunge and its merits. Features Seb Hunter, James Hetfield, Joe Elliot, Vince Neil, Lars Ulrich and Ian Gillan.
- Number of the Beast: Recollection of the creation of The Number of the Beast and the reaction to it. Features Steve Harris and Bruce Dickinson.
- Living After Midnight; Recording British Steel, Berkshire, England, January 1980: Recollection of the creation of Living After Midnight and the British Steel album. Features Glenn Tipton, K.K. Downing, Rob Halford,
- Recording Black Night, London, August 1969-January 1970: Recollection of the creation of Black Night. Features Ian Gillan and Roger Glover.
- Metallica Supports Ozzy, Master of Puppets tour 1986: Recollection of Metallica supporting Ozzy Osbourne on the Master of Puppets Tour. Features Lars Ulrich, James Hetfield and Geezer Butler.
[edit] Stadium rock
- Bruce Springsteen In Concert:Recollection of the E-Street Band's experiences with Bruce Springsteen. Features Max Weinberg and Garry Tallent.
- Kiss in Cadillac: Recollection of when Kiss played a concert in Cadillac, Michigan. Features Gene Simmons, Paul Stanley and Bill Aucoin.
- Designing For Freddie Mercury: Recollection of designing costumes for Freddie Mercury. Features Zandra Rhodes.
- The Police - The Early Days: Recollection of the origins of The Police. Features Stewart Copeland and Andy Summers.
- Sultans Of Swing: Recollection of the creation of Sultans of Swing. Features Mark Knopfler.
[edit] Alternative rock
- The Origins of R.E.M.: Recollection of the formation and beginnings of R.E.M.. Features Mike Mills, Michael Stipe.
- My Hardcore Punk Rock Youth: Recollection of the early days of Henry Rollins in Black Flag and hardcore. Features Henry Rollins.
- A Brief History Of The Pixies: Recollection of the history of the Pixies. Features Kim Deal and Charles Thompson.
- R.E.M. - Secrets of the Studio: Recollection of how R.E.M.'s songs It's the End of the World as We Know It (And I Feel Fine) and Nightswimming were created. Features Scott Litt, Mike Mills and Michael Stipe.
- Nirvana In Their Own Words: Recollection of Nirvana and Kurt Cobain. Features Dave Grohl and Krist Novoselic.
- Here Comes Your Man: Recollection of Here Comes Your Man. Features Kim Deal and Charles Thompson.
[edit] Indie rock
- Marr on Morrissey: Recollection of Steven Morrissey and Johnny Marr's partnership in the Smiths. Features Johnny Marr
- Spike Island: Discussion of the Stone Roses gig on Spike Island. Features Mani, John Robb, John Leckie, Noel Gallagher, Bonehead and Ian Tilton.
- What Defines Indie?: Discussion of the definition and origins of Indie. Features Stuart Maconie, John Leckie, John Harris, David Haslam, Andy Rourice and Alex Kapranos.
- Suede In Their Own Words: Recollection of Suede. Features Brett Anderson and Bernard Butler.
- Be Here Now: Recollection Be Here Now. Features Noel Gallagher and Bonehead.
[edit] Audio CD
On 28 January 2008, an audio CD to accompany the series was released. It contains 19 tracks, 12 of which are featured in the show, 5 different songs by featured artists and 2 by artists who are mentioned but do not feature:
- 1. My Generation - The Who
- 2. Sunshine Of Your Love - Cream
- 3. I'm Waiting For The Man - The Velvet Underground
- 4. Space Oddity - David Bowie
- 5. Virginia Plain - Roxy Music
- 6. Jet Boy - New York Dolls
- 7. Paranoid - Black Sabbath
- 8. Smoke On The Water - Deep Purple
- 9. Sheena Is A Punk Rocker - Ramones
- 10. New Rose - The Damned
- 11. Hong Kong Garden - Siouxsie & The Banshees
- 12. I Heard It Through The Grapevine - Slits
- 13. Vertigo - U2
- 14. In Bloom - Nirvana
- 15. I Am The Resurrection - The Stone Roses
- 16. For Tomorrow - Blur
- 17. Live Forever - Oasis
- 18. Common People - Pulp
- 19. Can't Stand Me Now - The Libertines
[edit] Songs featured in the series
Dates given are by earliest release. When cited as from an album, charting data is for the album. Recording and release dates are given if released posthomously.
Artist | Song | Year | UK Chart |
US Chart |
Episode |
---|---|---|---|---|---|
Jimi Hendrix Experience | Purple Haze | 1967 | 3 | 65 | Birth of Rock |
Jimi Hendrix Experience | Wild Thing | Rec:1967 Rel:1970 (Monterey International Pop Festival Album) | - | 16 | Birth of Rock |
Jimi Hendrix | Hear My Train A-Comin | 1970 (Band of Gypsys Album) | 6 | 5 | Birth of Rock |
Howlin' Wolf | How Many More Years | 1951 | - | - | Birth of Rock |
The Rolling Stones | Little Red Rooster | 1964 | 1 | - | Birth of Rock |
The Rolling Stones | (I Can't Get No) Satisfaction | 1965 | 1 | 1 | Birth of Rock |
The Yardbirds | Over Under Sideways Down | 1966 | 10 | - | Birth of Rock |
Bob Dylan | Subterranean Homesick Blues | 1965 | 9 | 39 | Birth of Rock |
Bob Dylan | Like a Rolling Stone | 1965 | 4 | 2 | Birth of Rock |
The Who | I Can't Explain | 1965 | 8 | 97 | Birth of Rock |
The Who | My Generation | 1965 | 2 | 74 | Birth of Rock |
Tim Rose | Hey Joe | 1966 | - | - | Birth of Rock |
Jimi Hendrix | Hey Joe | 1966 | 6 | - | Birth of Rock |
Cream | White Room | 1968 (Wheels of Fire Album) | 3 | 1 | Birth of Rock |
Cream | Crossroads | 1968 (Wheels of Fire Album) | 3 | 1 | Birth of Rock |
Jimi Hendrix Experience | Killing Floor | Rec:1967 Rel:1986 (Jimi Plays Monterey Album) | - | - | Birth of Rock |
Jimi Hendrix Experience | Foxy Lady | 1967 | 6 | 67 | Birth of Rock |
Jimi Hendrix Experience | Like a Rolling Stone | Rec:1967 Rel:1970 (Monterey International Pop Festival Album) | - | 16 | Birth of Rock |
The Beatles | Sgt. Pepper's Lonely Hearts Club Band | 1967 (Sgt. Pepper's Lonely Hearts Club Band Album) | 1 | 1 | Birth of Rock |
The Beatles | A Day in the Life | 1967 (Sgt. Pepper's Lonely Hearts Club Band Album) | 1 | 1 | Birth of Rock |
The Beatles | Lucy in the Sky with Diamonds | 1967 (Sgt. Pepper's Lonely Hearts Club Band Album) | 1 | 1 | Birth of Rock |
Jimi Hendrix | Sgt. Pepper's Lonely Hearts Club Band | Rec: 1970 Rel:1972 (Hendrix in the West Album) | 12 | - | Birth of Rock |
Jimi Hendrix Experience | Gypsy Eyes | 1968 (Crosstown Traffic B-Side) | - | 52 | Birth of Rock |
Jimi Hendrix Experience | All Along the Watchtower | 1968 | 20 | 5 | Birth of Rock |
The Rolling Stones | Gimme Shelter | 1969 (Let It Bleed Album) | 1 | 3 | Birth of Rock |
The Rolling Stones | Sympathy for the Devil | 1968 (Beggars Banquet Album) | 3 | 2 | Birth of Rock |
Jimi Hendrix | The Star-Spangled Banner | Rec:1970 Rel:1971 (Rainbow Bridge Album) | 16 | 15 | Birth of Rock |
Jimi Hendrix | Voodoo Chile | 1968 (Electric Ladyland Album) | 6 | 1 | Birth of Rock |
Pink Floyd | Arnold Layne | 1967 | 20 | - | White Light, White Heat |
Pink Floyd | See Emily Play | 1967 | 6 | 134 | White Light, White Heat |
Pink Floyd | Interstellar Overdrive | 1967 (The Piper at the Gates of Dawn Album) | 6 | 131 | White Light, White Heat |
The Velvet Underground | White Light/White Heat | 1968 | - | - | White Light, White Heat |
The Velvet Underground | I'm Waiting for the Man | 1967 (The Velvet Underground and Nico Album) | - | 171 | White Light, White Heat |
The Velvet Underground | All Tomorrow's Parties | 1966 | - | - | White Light, White Heat |
The Velvet Underground | Venus In Furs | 1967 (The Velvet Underground and Nico Album) | - | 171 | White Light, White Heat |
Pink Floyd | Jugband Blues | 1968 (A Saucerful of Secrets Album) | 9 | - | White Light, White Heat |
David Bowie | Space Oddity | 1969 | 5 | 15 | White Light, White Heat |
Hype | I'm Waiting For The Man | Rec:1972 Rel:1994 (Santa Monica '72 Album) | - | - | White Light, White Heat |
David Bowie | Ziggy Stardust | 1972(The Jean Genie b-side) | 2 | 72 | White Light, White Heat |
David Bowie | Starman | 1972 | 10 | 65 | White Light, White Heat |
David Bowie | Five Years | 1972 (The Rise and Fall of Ziggy Stardust and the Spiders from Mars Album) | 5 | 75 | White Light, White Heat |
Pink Floyd | Echoes | 1971 (Meddle Album) | 3 | 70 | White Light, White Heat |
Pink Floyd | Brain Damage | 1973 (The Dark Side of the Moon Album) | 2 | 1 | White Light, White Heat |
Pink Floyd | Money | 1973 | - | 13 | White Light, White Heat |
David Bowie | Hang on to Yourself | 1971 | - | - | White Light, White Heat |
Roxy Music | Re-Make/Re-Model | 1972 (Roxy Music Album) | 10 | - | White Light, White Heat |
Roxy Music | Virginia Plain | 1972 | 4 | - | White Light, White Heat |
Roxy Music | Ladytron | 1972 (Roxy Music Album) | 10 | - | White Light, White Heat |
Genesis | I Know What I Like (In Your Wardrobe) | 1973 | 17 | - | White Light, White Heat |
Genesis | Supper's Ready | 1972 (Foxtrot Album) | 10 | - | White Light, White Heat |
Pink Floyd | Another Brick in the Wall, Part II | 1979 | 1 | 1 | White Light, White Heat |
Pink Floyd | Goodbye Cruel World | 1979 (The Wall album) | 3 | 1 | White Light, White Heat |
Pink Floyd | Comfortably Numb | 1979 (The Wall album) | 3 | 1 | White Light, White Heat |
Iggy And The Stooges | No Fun | 1969 (The Stooges Album) | - | - | Blank Generation |
The Ramones | Blitzkrieg Bop | 1975 | - | - | Blank Generation |
The Ramones | Now I Wanna Sniff Some Glue | 1976 (Ramones Album) | - | 111 | Blank Generation |
The Ramones | I Don't Wanna Walk Around With You | 1976 (Ramones Album) | - | 111 | Blank Generation |
Richard Hell And The Voidoids | Blank Generation | 1977 (Blank Generation Album) | - | - | Blank Generation |
Patti Smith | Land: Horses / Land of a Thousand Dances / La Mer (de) | 1975 (Horses Album) | - | 47 | Blank Generation |
Patti Smith | Gloria | 1975 (Horses Album) | - | 47 | Blank Generation |
Television | Little Johnny Jewel | 1975 | - | - | Blank Generation |
The Damned | New Rose | 1976 | - | - | Blank Generation |
The Sex Pistols | Anarchy in the U.K. | 1976 | 38 | - | Blank Generation |
The Sex Pistols | God Save the Queen | 1977 | 2 | - | Blank Generation |
The Sex Pistols | Pretty Vacant | 1977 | 6 | 93 | Blank Generation |
The Clash | White Riot | 1977 | 38 | - | Blank Generation |
The Clash | London Calling | 1979 | 11 | - | Blank Generation |
The Clash | (White Man) In Hammersmith Palais | 1978 | 32 | - | Blank Generation |
The Buzzcocks | Boredom | 1976 (Spiral Scratch (EP)) | - | - | Blank Generation |
The Buzzcocks | Time's Up | 1976 (Spiral Scratch (EP)) | - | - | Blank Generation |
The Buzzcocks | Ever Fallen in Love (With Someone You Shouldn't've) | 1978 | 12 | - | Blank Generation |
The Slits | Typical Girls | 1979 | 60 | - | Blank Generation |
The Slits | Instant Hit | 1979 (Cut Album) | - | - | Blank Generation |
The Slits | So Tough | 1979 (Cut Album) | - | - | Blank Generation |
The Sex Pistols | No Fun | 1977 (B-Side To Pretty Vacant) | 28 | - | Blank Generation |
Public Image Ltd. | Poptones | 1979 (Metal Box Album) | 18 | - | Blank Generation |
Black Sabbath | Paranoid | 1970 | 4 | 61 | Never Say Die |
Black Sabbath | N.I.B. | 1970 | - | - | Never Say Die |
Black Sabbath | Black Sabbath | 1970 | - | - | Never Say Die |
Deep Purple | Black Night | 1970 | 2 | 66 | Never Say Die |
Deep Purple | Smoke on the Water | 1972 (Machine Head Album) | - | 4 | Never Say Die |
Black Sabbath | Snowblind | 1972 | - | - | Never Say Die |
Black Sabbath | Sabbath Bloody Sabbath | 1973 | - | - | Never Say Die |
Judas Priest | Breaking the Law | 1980 | 12 | - | Never Say Die |
Judas Priest | Rock Forever | 1978 (Killing Machine Album) | 32 | 128 | Never Say Die |
Judas Priest | Hell Bent for Leather | 1978 (Killing Machine Album) | 32 | 128 | Never Say Die |
Judas Priest | Living After Midnight | 1980 | 12 | - | Never Say Die |
Iron Maiden | Iron Maiden | 1979 (The Soundhouse Tapes EP) | - | - | Never Say Die |
Iron Maiden | Running Free | 1980 | 34 | - | Never Say Die |
Iron Maiden | Run to the Hills | 1982 | 7 | - | Never Say Die |
Iron Maiden | The Number of the Beast | 1982 | 18 | - | Never Say Die |
Mötley Crüe | Take Me to The Top | 1981 (Too Fast For Love Album) | - | - | Never Say Die |
Mötley Crüe | Looks That Kill | 1983 (Shout at the Devil Album) | - | 17 | Never Say Die |
Ozzy Osbourne | Crazy Train | 1980 | 49 | 9 (Main. Rk) | Never Say Die |
Ozzy Osbourne | Mr. Crowley | 1980 | 46 | - | Never Say Die |
Mötley Crüe | Girls, Girls, Girls | 1987 | 26 | - | Never Say Die |
Metallica | No Remorse | 1983 (Kill 'Em All Album) | - | - | Never Say Die |
Metallica | Master of Puppets | 1986 | - | - | Never Say Die |
Mötley Crüe | Dr Feelgood | 1989 | 50 | - | Never Say Die |
Metallica | Enter Sandman | 1991 | 5 | 16, 10 (Main. Rk) | Never Say Die |
Led Zeppelin | Rock and Roll | 1971 (Led Zeppelin IV album) | 1 | 2 | We Are the Champions |
Led Zeppelin | Stairway to Heaven | 1971 (Led Zeppelin IV album) | 1 | 2 | We Are the Champions |
Queen | Bohemian Rhapsody | 1975 | 1 | 9 | We Are the Champions |
Queen | We Will Rock You | 1977 (We Are The Champions B-Side) | 11 | 4 | We Are the Champions |
Queen | We Are The Champions | 1977 | 11 | 4 | We Are the Champions |
Kiss | Rock and Roll All Nite | 1975 | - | 68 | We Are the Champions |
Bruce Springsteen | Thunder Road | 1975 (Born To Run Album) | 36 | 3 | We Are the Champions |
Bruce Springsteen | Born to Run | 1975 | - | 23 | We Are the Champions |
Bruce Springsteen | Rosalita (Come Out Tonight) | 1973 (The Wild, the Innocent and the E-Street Shuffle Album) | - | 59 | We Are the Champions |
The Police | Roxanne | 1978 | - | - | We Are the Champions |
The Police | Can't Stand Losing You | 1978 | 42 | - | We Are the Champions |
Queen | Crazy Little Thing Called Love | 1979 | 2 | 1 | We Are the Champions |
The Police | Every Breath You Take | 1983 | 1 | 1 | We Are the Champions |
Bruce Springsteen | Dancing In The Dark | 1984 | 4 | 2, 1 (Main. Rk) | We Are the Champions |
Bruce Springsteen | Born in the U.S.A. | 1984 | 5 | 9, 8 (Main. Rk) | We Are the Champions |
Dire Straits | Brothers in Arms | 1985 | 16 | - | We Are the Champions |
Dire Straits | Money for Nothing | 1985 | 4 | 1 | We Are the Champions |
Dire Straits | Walk of Life | 1985 | 7 | 7, 6 (Main. Rk) | We Are the Champions |
Queen | Radio Ga Ga | 1984 | 2 | 16 | We Are the Champions |
U2 | Sunday Bloody Sunday | 1983 | - | 7 (Main. Rk) | We Are the Champions |
U2 | Bullet the Blue Sky | 1987 (The Joshua Tree Album) | 1 | 1 | We Are the Champions |
R.E.M. | It's the End of the World as We Know It (And I Feel Fine) | 1987 | 39 | 69, 16 (Main. Rk) | Left Of The Dial |
Black Flag | Six Pack | 1981 | - | - | Left Of The Dial |
Black Flag | Gimmie Gimmie Gimmie | 1981 (Damaged Album) | - | - | Left Of The Dial |
R.E.M. | Radio Free Europe | 1981 | - | - | Left Of The Dial |
The Replacements | Here Comes A Regular | 1985 (Tim Album) | - | 183 | Left Of The Dial |
The Replacements | Left Of The Dial | 1985 (Tim Album) | - | 183 | Left Of The Dial |
Hüsker Dü | Pink Turns To Blue | 1984 (Zen Arcade Album) | - | - | Left Of The Dial |
R.E.M. | The One I Love | 1987 | 51 | 9, 2 (Main. Rk) | Left Of The Dial |
Mudhoney | Touch Me I'm Sick | 1988 | - | - | Left Of The Dial |
Nirvana | About A Girl | 1989 (Bleach Album) | 33 | 89 | Left Of The Dial |
R.E.M. | Turn You Inside Out | 1988 (Green album) | 27 | 10 | Left Of The Dial |
R.E.M. | Losing My Religion | 1991 | 4 | 19, 1 (Main. Rk/Mod. Rk) | Left Of The Dial |
Nirvana | Verse Chorus Verse | 1993 (uncredited contribution to No Alternative Album) | - | - | Left Of The Dial |
Pearl Jam | Alive | 1991 (Ten Album) | 18 | 2 | Left Of The Dial |
Pixies | Gouge Away | 1989 (Doolittle Album) | 8 | 98 | Left Of The Dial |
Pixies | Where Is My Mind? | 1988 (Surfer Rosa Album) | 8 | 98 | Left Of The Dial |
Nirvana | Smells Like Teen Spirit | 1991 | 7 | 6, 1 (Mod. Rk) | Left Of The Dial |
Nirvana | Something In The Way | 1991 (Nevermind Album) | 7 | 1 | Left Of The Dial |
R.E.M. | Nightswimming | 1992 (Automatic For The People Album) | 1 | 2 | Left Of The Dial |
R.E.M. | Everybody Hurts | 1992 (Automatic For The People Album) | 1 | 2 | Left Of The Dial |
Nirvana | Serve The Servants | 1993 (In Utero Album) | 1 | 1 | Left Of The Dial |
Nirvana | Come As You Are | 1991 (Nevermind Album) | 7 | 1 | Left Of The Dial |
Nirvana | Where Did You Sleep Last Night? | Rec:1993 Rel:1994 (MTV Unplugged in New York Album) | 1 | 1 | Left Of The Dial |
The Smiths | This Charming Man | 1983 | 25 | - | What The World Is Waiting For |
The Smiths | Heaven Knows I'm Miserable Now | 1984 | 12 | - | What The World Is Waiting For |
The Jesus And Mary Chain | In a Hole | 1985 (Psychocandy Album) | 31 | 188 | What The World Is Waiting For |
The Smiths | Hand in Glove | 1983 | 124 | - | What The World Is Waiting For |
The Stone Roses | Waterfall | 1989 (The Stone Roses Album) | 9 | 86 | What The World Is Waiting For |
The Stone Roses | I Wanna Be Adored | 1989 (The Stone Roses Album) | 9 | 86 | What The World Is Waiting For |
The Stone Roses | I Am The Resurrection | 1989 | 8 | - | What The World Is Waiting For |
The Happy Mondays | Step On | 1990 | 5 | 57, 9 (Mod. Rock) | What The World Is Waiting For |
The Inspiral Carpets | She Comes in the Fall | 1990 | 27 | - | What The World Is Waiting For |
Blur | There's No Other Way | 1991 | 8 | 82, 5 (Mod. Rock) | What The World Is Waiting For |
Oasis | I Am the Walrus | 1994 (Cigarettes and Alcohol B-Side) | 7 | - | What The World Is Waiting For |
Oasis | Live Forever | 1994 | 10 | 2 (Mod. Rk) | What The World Is Waiting For |
Suede | Metal Mickey | 1992 | 17 | - | What The World Is Waiting For |
Suede | Animal Nitrate | 1993 | 7 | - | What The World Is Waiting For |
Blur | For Tomorrow | 1993 | 28 | - | What The World Is Waiting For |
Blur | Girls & Boys | 1994 | 5 | 59, 4 (Mod. Rock) | What The World Is Waiting For |
Oasis | Shakermaker | 1994 | 11 | - | What The World Is Waiting For |
Oasis | Cigarettes and Alcohol | 1994 | 7 | - | What The World Is Waiting For |
Blur | Country House | 1995 | 1 | - | What The World Is Waiting For |
Oasis | Roll With It | 1995 | 2 | - | What The World Is Waiting For |
Oasis | Wonderwall | 1995 | 2 | 8, 1 (Mod. Rk) | What The World Is Waiting For |
Oasis | Champagne Supernova | 1995 ((What's the Story) Morning Glory? Album) | 1 | 4 | What The World Is Waiting For |
Coldplay | Yellow | 2000 | 4 | 48, 6 (Mod. Rk) | What The World Is Waiting For |
Stereophonics | Have A Nice Day | 2001 | 5 | - | What The World Is Waiting For |
The Libertines | The Boys In The Band | 2002 (Up The Bracket Album) | 35 | - | What The World Is Waiting For |
The Libertines | The Boy Looked at Johnny | 2002 (Up The Bracket Album) | 35 | - | What The World Is Waiting For |
The Libertines | Can't Stand Me Now | 2004 | 2 | - | What The World Is Waiting For |
The Arctic Monkeys | I Bet You Look Good on the Dancefloor | 2005 | 1 | 103, 7 (Mod. Rk) | What The World Is Waiting For |
Franz Ferdinand | Do You Want To | 2005 | 4 | 76, 9 (Mod. Rk) | What The World Is Waiting For |
Kaiser Chiefs | Na Na Na Na Naa | 2005 (Employment Album) | 2 | 86 | What The World Is Waiting For |
Franz Ferdinand | Take Me Out | 2004 | 3 | 66, 3 (Mod. Rk) | What The World Is Waiting For |
[edit] Featured artists who are listed only on the BBC website
Artist | Years active | "Key Releases" | Year of releases | UK Chart |
US Chart |
"Related Programme" |
---|---|---|---|---|---|---|
John Mayall's Bluesbreakers | 1963- | Blues Breakers with Eric Clapton | 1966 | 6 | - | The Birth of Rock |
Radiohead | 1985- | OK Computer | 1997 | 1 | 21 | The Birth Of Rock\ What The World Is Waiting For |
Talking Heads | 1974-1991 | '77 | 1977 | - | - | Blank Generation\ Left Of The Dial |
John Cale | 1965- | Fear | 1974 | - | - | Blank Generation |
New York Dolls | 1971-7 | The New York Dolls | 1973 | - | 111 | Blank Generation |
The Strokes | 1998- | Is This It? | 2001 | 2 | - | Left Of The Dial\ What The World Is Waiting For |
The White Stripes | 1997- | White Blood Cells | 2001 | 55 | 61 | White Light, White Heat\ Left Of The Dial\ What The World Is Waiting For |