The Last Party: Britpop, Blair and the Demise of English Rock

I've never read anything by John Harris before, but after reading the superbly detailed and imaginatively researched BRITPOP!, I picture him as a kind of Theodore K. White of music journalism. He is careful to place the phenomenon inside a political and social context which included the passing of the Thatcher kingdom and the birth of "New Labor" as exemplified by the triumph of the young, music loving prime minister, Tony Blair. And paralleling also the rise of the Young British artists llike Damien Hirst and or Tracey Emin. Against this changing backdrop of society and expectations, a new breed of British bands appeared all at once to world consciousness. Oasis, Blur, Pulp and more seemed poised to take over the world the way that the Beatles, Stones and Kinks has once dominated rock 30 years before. And yet within a few years, all this excitement had dried up, and the Gallagher Brothers were now seen only as a pair of drunken louts who slagged everyone they could, even their own wives and girlfriends. Harris is good at depicting not only the appropriation strategies of these bands but the way they knew how to play themselves in the media against their American or Australian counterparts for maximum effect, culminating in the episode where Jarvis Cocker showed up at a Michael Jackson TV taping to denounce the black R & B singer, or the way that Noel Gallagher assailed Kylie Minogue for being a "lesbian," or so he said. The Koran says, "In our beginning are our ends," and this book Britpop! proves it over and over and over and over. Well done, John Harris.

I was given this as a Christmas present and finished it within a couple of weeks. Whether you want to debate the whole issue of the link between Tony Blair and Britpop.....there are some links but they're not interconnected. It's true that Tony Blair ( or for the benefit of some Tony B(liar)) used the whole Britpop movement for political gain.....but that's only to be expected. He probably saw it as a calling from the disaffected nation of the youth ( if you've listened to him sometimes, he desperately wants to come across as a messiah ). However the political aspects always seem to loom in the background. In the 80s, Paul Weller and Billy Bragg popping up as part of the Red Wedge ( horrible name ), which was a sort of Labour tie-in at the time as " Musicians against the Tories " which admittedly is a good idea but never amounts to much in the end. It ended in failure.....just like now when Bruce Springsteen et al rocking to get Kerry in.....see something here musicians don't make much of a difference! It digs even deeper into Tony Blair's past when he used to be in a band and could do a striking Mick Jagger impersonation.....so no wonder Jagger got knighted! The 90s though was made up of new ideas. As the " baggy" movement died away and was superseded by America's grunge, various musicians ( Suede, Blur, Elastica etc. ) were thinking of something that was anti-grunge, that was gave themselves a British identity, " a sense of who we are " in a way. Steadily as it was built, the music press got more and more excited and had suddenly forgot about it's past politicking and other things and just forget everything and just be happy to be British and so on. To make this all the more clearer, in 1992, Morrissey was scorned upon for waving the Union Jack flag at one of his concerts. Within 3 years you were hailed as god for sleeping in a Union Jack duvet with your soon-to-be wife or play a Union Jack guitar in front of millions......well you get the drift of it. Funnily, the picture of Liam Gallagher and Patsy Kensit lying underneath a Union Jack duvet was to be mocked by an Irish magazine called In Dublin, where they had lookalikes under an Irish quilt. I say funnily, but in some ways it was as grotesque as the real thing. That last bit's not in the book but also it will tell you that most ( if not all ) Americans did not get to see that because, hell, an interview with someone from Seinfeld is far more interesting. But rewind a little and we find that not only are the music press obsessed but so are the media which means a widespread cultural renaissance is in place. And while the general public are hastily looking for any little tidbit of information from their newspapers, we find that Blur and Oasis, who used to be at least friendly to each other, now go into a full on war for the number 1. The hysteria is palpable and duly enough Blur win and Oasis lose out. What also should be noted is that there is a growing tapped interest by the Labour Party

I ran across this book in London in the summer of 2003 right after it had come out. As an Anglophilic purveyor of English Rock music (say that ten times fast!), this book appealed to me from the shelf at least. I took a chance on it, and boy, I wasn't disappointed. For Americans like me who are into English rock, all we know is what we get from the CDs. I lived through 1990's America, while England underwent a cultural shift not seen since 1960's America. You can really experience it in this book, especially if you have listened to all of the great music that came out in that decade (Blur, Suede, Radiohead, Supergrass, Pulp) and avoid the garbage (Oasis, Menswear). Besides in-depth interviews and private photographs from some of the biggest players, you get two feelings from this book: One, the English music scene was really like a gang of friends for the most part (excluding the Brett vs. Damon and Blur vs. Oasis feuds). And two, it was a talentless [...] of a woman in Justine Frischmann who really drove two of the biggest talents of the decade, Brett Anderson and Damon Albarn, to fantastic heights by being the third point in their little love traingle. A fascinating read.

Harris looks at the Britpop phenomenon in 1990's UK. Special attention is played to central bands Suede, Elastica, Oasis and Blur and to key personalities like Tony Blair and Alan McGee of Creation records. It's a worthy redux of the underlying commercial, political and drug-addled machinations of the Cool Britannia gang. Only Tony Blair remains newsworthy. Despite their arty, salt of the earth aspirations of these would-be Eastenders, it's clear they were in it for one thing - themselves. Harris likes to centre the development of the genre around the personal relationships of the central players - in particular, the Justine Frischmann, Brett Anderson and Damon Alban triangle of love, breakup, jealousy and narcissism. This makes for interesting reading as he blends in the context of Tory Britain, the failure of Red Wedge, tiresome US influences of Nirvana and dullards like Bruce Springsteen, post-Duran Duran and pre hip-hop happenings. The Stone Roses, Mondays, Inspiral Carpets, Smiths, Morrissey - they're all here too. Manchester and London are given equal credit. However, Harris gives far too much prominence is given to Elastica - bizarrely, there is no mention of what they're remembered for best - their Wire and Stranglers plagiarisms. The inclusion of Menswear as meriting any credit is a mistake too. They were purely bargain basement poseurs.A perfect reprise for anyone who realizes that the codology of Nick Hornby football luvvies and their awful taste in music provides no insight into the human condition, but is little more than middle England menopause.

Great book. Everything you need to know about the mid-nineties scene known as Britpop. Now if only the film Live Forever would be available in the states I would be fulfilled. Definitly, not maybe buy this book.