Spillyear 1995





I think we established last week that 1967 was a pretty good year for music. So some of you had the Summer of Love. My generation? We had Britpop.

Yes, OK, maybe it doesn’t quite compare, but it was, in the immortal words, or word, of Supergrass, alright. The sort of music I liked was suddenly in the charts, on daytime radio, in the media. It was a good time to be 17.

The zenith was 20 years ago this weekend, when Pulp conquered Glastonbury. I was there (my first and, to date, only Glastonbury). It felt, however briefly, like we were part of something important. Like this was the way the future was meant to feel.

Or just 20,000 people standing in a field.

But of course, there was more to 1995 than Britpop. What were you listening to?

Listen to the playlist here

Add your top 3 songs here



119 thoughts on “Spillyear 1995

  1. The year TBW was born!

    Edwyn Collins – A Girl Like You
    Sheryl Crow – All I Wanna Do
    die Fantastischen Vier – Sie ist weg

      • I didn’t listen to her till much later. Most of my music was discovered at work (I used to sell books and CDs), but that year I spent more time than usual at home with the radio on. My ex could pick up BFBS in his flat, but I could only get German stations.

    • I’ve just seen that Dick’s Picks Volume 3 was released in 1995, which contained the first live versions of Estimated Prophet and Terrapin Station I ever heard, from the excellent May 1977 run.

      And I’ll confess to liking Jagged Little Pill, particularly Hand In My Pocket. So there.

  2. *taps foot waiting for barbryn’s picks*

    I had a big post done here when my browser crashed. So i’ll try again. First thought when looking at the album lists – did grunge really come and go as fast as all that? Few monster albums that year, spoiled rotten for choice from just those. Mellen Collie, What’s the Story, Garbage just for starters.

    Oh, where was i? Wrapped up my left coast sojurn, left the Bay Area and went back to NYC.

    shortlist –

    Garbage – Queer, I’m Only Happy When it Rains
    Smashing Pumpkins – Tonight Tonight, Zero, Bullet With Butterfly Wings
    Oasis – Wonderwall, Don’t Look Back in Anger, Champagne Supernova
    Verve – On Your Own
    Hole – Doll Parts
    Babes in Toyland – Sweet 69
    Primus – Wynonna’s Big Brown Beaver

    honorable mentions –

    Pearl Jam – Better Man
    Lisa Loeb – Stay
    Rembrandts – I’ll Be There For You – twee as fuck, couldn’t get away from it
    Beastie Boys – Root Down

    (sorry Alanis)

    This year – Chris might actually be spoiled for choice.

    • I spent much of 1995 proclaiming my dislike of Oasis, but I hope someone picks Don’t Look Back in Anger or Champagne Supernova (but not Wonderwall).

      • ok, to whittle it down –

        Oasis – Champagne Supernova – as no one else seems inclined to pick one.
        Garbage – Queer
        Hole – Doll Parts – can’t leave this off. I love it, and Hole was still huge out west.

        Pumpkins will top my list for other years. Kills me to leave off the Verve, i love this song. But i think i already put them up for another year.

  3. First of all Nick Cave and Kylie Minogue – Where the Wild Roses Grow
    because it was such a fabulous idea for a collaboration and remains so (although I do prefer Blixa and Nick’s version because, Blixa)
    Strangelove – Time for the Rest of Your Life – Q’s single of 1995 apparently
    Jack – Kid Stardust not given the attention it deserved I feel.

    I heard Pulp that year, a lot, but felt I was too old to really be into the whole scene really. I’m missing out NIN who I liked that year and Ash, Peej, also Hole, Babes in Toyland and The Stone Roses second album which I still think is great, but there you are.

    • I love The Second Coming! I played that to death back at the time, but didn’t it come out in 1994?

      If so, by my self-imposed rules I can’t pick it for 1995.

      • Quite probably, but Ten Storey Love Song came out in March 1995, so it could count. It’s an adventurous album which I think has stood the test of time *how is 1995 twenty years ago???*

    • Why have I never heard “Kid Stardust” before?

      Didn’t know that Strangelove one either. I have “Love And Other Demons” …1996?

      • Hope you liked the tracks! The Jack one is their first single, before Pioneer Sounds, it came out November 95. The Strangelove track is what got me into them from their first album of the same name.

      • Love that lyric, I did boogie down at a nightclub in Newquay to that one. Have you read the Phonogram graphic novel by Kieron Gillen and Jamie McKelvie? Absolutely spot on about Britpop for me…

      • Cheers Beth for the reminder (I read about it and thought it looked good) but it slipped my mind like most things these days; I will get hold of a copy to remedy that as soon as possible.

  4. I didn’y buy many albums in 1995 and, unsurprisingly perhaps, I wasn’t, and still aam not a big fan of Britpop. I wish I could claim King Crimson’s THRAK as an album I owned in 1995, but I didn’t, so I will exclude it. I did buy Pink Floyd’s Pulse but is it right to select a track from what is effectively a live greatest hits album? Personally, I don’t think so.

    I did buy Paul Weller’s Stanley Road and, although I haven’t played it in years, I listened to it a lot back then, so I should pick one from that. I bought Post by Björk, so I need to have something from that too, but it is hard to know what to pick. I’ll go with an obvious choice, I suppose. I also want to pick something from Emmylou Harris’ Wrecking Ball.

    Much as I love the album, I am going to leave The Bends aside, because I am sure someone else will pick something from that.

    Paul Weller – You Do Something to Me
    Björk – Army Of Me
    Emmylou Harris – Deeper Well

  5. 1995 – My pick for the last truly great pop year. Or the year I succumbed to becoming a miserable old fart, take yer pick.

    This was also the year that I took it upon myself to start travelling – something I had done precious little of as a child – and having a job at the time where I could write my own schedule I made an effort to get out on the road and see the world around me. Managed to reach 35 states and two Canadian provinces. Living at home with mum and dad and having no bills to pay kinda helped too, but don’t tell anyone.

    1 Collective Soul – Gel This band which had been strictly Atlanta’s best kept secret finally broke nationwide and rattled off a string of wonderfully catchy hits.

    2 Blues Traveler – Hook Pachelbel’s Canon strikes again! Still one of the best harmonica solos ever and I had that rapid-fire middle eight memorized at one point.

    3 Radiohead – Fake Plastic Trees “She looks like the real thing / She tastes like the real thing / My fake plastic girl” I could hear those lines and be moved by the sincerity rather than snicker and think of inflatable women.

      • Apologies barbyrn, it’s littleriver.
        two more to make it three –
        *Unaware of Morphine in 1995 but am sure if I had been I’d have fallen under the spell of – Whisper from their Yes Album.
        *Ditto The Pat Methany Group with The Girls Next Door.

  6. I know I bought Tricky’s Maxinquaye in 1995 – on cassette. Which means I haven’t played it for ages. Possibly would have included a track from it otherwise. Anyway I think these three were played a lot at the time and still sound good to me:

    Born Slippy – Underworld
    1963 – New Order
    Isobel – Bjork

      • That makes a lot more sense. I looked at Rate You Music’s singles of the year rather than digging through my own vinyl. Bad idea. Don’t know how to remove the thing from the playlist unfortunately.Not sure if anyone’s worked that one out.

        I’ll go for Tricky and “Black Steel” instead which I’ve added to the list.

    • donds to the wonderful wonderful sticks of Tinder, but that’s one of my least favourite by them, not sure why, just never liked it much. Tindersticks 2 is fab in general though.

    • Mellon Collie is another of those albums I didn’t own until later on, in 1996 in this case. I’m not even sure that I had heard any of it in 1995.

    • And 1979 is not my fave from that album either. I like it just fine, but for me not a patch on the other corkers.

      Last i knew from back when i played on the mothership, it was i believe the only Pumpkins tune listed to date (and from before my time there too.). Hopefully that’s changed.

      • I think I got “Disarm” B-listed for Songs With Bells On. I haven’t listened to Melon Collie (or any Pumpkins albums, come to that) for ages. Like most double albums, it would make a great single album, but that would kind of miss the point.

      • Ha, i thought that was me that got it B’d by tfd. Love that song. But i’m not going to disagree with you about condensing it into a single. Gish and Simese Dream were monsters with barely a crap tune between them.

  7. I posted in this in a hurry (I had to go to the beach) and only got round to adding Pulp’s “Sorted for E’s and Whizz” to the playlist. That’s the one that sums up summer 1995 for me (even if it’s about a different summer). “Common People” is probably the greatest pop song of the 90s, but you probably don’t need to hear it again.

    Donds for “Fake Plastic Trees” (which I can now strike off my shortlist, and which means as much to me as everything Radiohead have done since), Tricky, Garbage and Bjork (I’d have gone for “Hyperballad”).

    It’s really hard to choose a top 3. I think my two most-played albums would be Tindersticks II and “Life” by The Cardigans. So let’s go for “Travelling Light” and “Gordon’s Garden Party”.

  8. Until Glastonbury, Pulp were still niche, creating their own brand of outsider alt-pop for many, many years already, unlike the pastiche of Britpop wanting to be 1967 and all that – but Jarvis created his legend when replacing the Stone Roses (It was brilliant).. Brit pop then latched onto the originality of his lyrics, grabbing onto the definitive songs of the era: common people, mis-shapes – sorted etc:

    my iTunes says I’ve listened to these bands albums from 1995 recently:
    Björk – Post
    Black Grape – It’s Great When You’re Straight…Yeah
    BMX Bandits – Serious Drugs
    Bomb The Bass – Clear
    Dreadzone –
    Funki Porcini – Hed Phone Sex
    Garbage – Garbage
    Leftfield – Leftism
    Moloko – Do You Like My Tight Sweater?
    Morphine – Yes
    Pavement – Wowee Zowee
    The Pharcyde – Labcabincalifornia
    Pram – Sargasso Sea
    The Prodigy – Music For The Jilted Generation
    Pulp – Different Class
    Sparklehorse – Vivadixiesubmarinetransmissionplot
    Tricky – Maxinquaye
    Wolfgang Press – Funky Little Demons

    My choice of three tracks that I was playing in 95 would be:

    Pram – Sea Swells and Distant Squalls

    Bomb the Bass – Bug Powder Dust (full album version)

    µ-Ziq – Roy Castle

    most played albums at the time:


    The Wolfgang Press
    Black Grape
    The Prodigy

  9. I think it’s safe to say I wasn’t a fan of Britrock. 1995 was a momentous year, I split up with my ex-ex and met my ex; I had to temporarily move out of my own house and into a flat which was much too near an off licence, and I was working in wildlife licensing. Not a lot of musical memories except:

    The Pretenders – The Isle of View – I’ll choose “2000 miles”;
    Del Amitri – “Roll to Me”
    … and really struggling here so I’ll go with a surprise Britpop entry which is:
    Pulp – “Common People” – (because I did like it ).

    • Pulp and Suede are probably the only Britpop bands I like. There are others, like Blur, where I like a few of the songs, but the rest always seemed pretty throwaway stuff to me.

      • Yes, Pulp and Blur I quite liked, Damon Albarn was a bit of a crush for some reason long ago. I am being very careful not to knock any of the Britpop stuff, it just wasn’t to my taste – and my life was in a bit of a mess, so I wasn’t really paying much attention!

    • A couple of these I didn’t get until 1996, but my consistent policy with this game is to try to choose favourite tracks from that year, not necessarily my favourite at the time.
      Braindance were my favourite band at the time, with hindsight a good oi/punk band – a bit of a mish mash of Test Tubes, Upstarts, Sparrer and Exploited, with a good singer singing piss-poor lyrics. Child is probably the most atypical track the ever did, being (whispers)…a mainly acoustic ballad!
      Test Tubes released Supermodels, the first album I bought by them as a new release, happily though it was a mixed bag, it did feature some of their best ever songs.
      Striknien DC I didn’t stumble across until 1996 but they were easily one of the best bands I’d ever seen.

  10. I was in Kuwait in 1995, and there wasn’t much contemporary music available in the one record store in town. MTV was my main contact. That and the weekly darts nights we attended. In an attempt to enjoy a social life, my work colleagues formed The Red Arrows darts team and joined the Kuwait Darts League. I remember Alanis Morrisette being by far the most popular cassette played as we strived for a 180 and a mention in the Kuwait Times. There were a couple of albums not yet mentioned that surfaced. So I’ll go for:

    PJ Harvey – To Bring You My Love
    Elastica – Line Up

    and from MTV

    TLC – Waterfalls

  11. 1995 would have been a good year for aliens to invade. They’d turn the radio on (assuming they didn’t have one that turns on by itself), scan the charts and hit hyperdrive outta here. “Grow a pair and we’ll be back,” they waved. There was a paucity of fresh ideas; it was so embarassing Prince wouldn’t even use his name.

    But you can’t hide the good stuff from ‘Spillers.

    Now, I’d pick:
    Elliott Smith – 2:45 am
    The Roots – Datskat
    John Prine – Lake Marie

    East 17 – Stay Another Day
    N-Trance – Set You Free
    TLC – Waterfalls

  12. Late to the party again…

    Difficult to narrow down to three but here goes:

    Teenage Fanclub – Sparky’s Dream
    Gene – Sleep Well Tonight
    The Cardigans – Gordon’s Garden Party

    Donds to Fake Plastic Trees and anything and everything by Pulp.

    Gene were (and still are) my favourite Britpop band – partly because I knew Martin Rossiter quite well and partly because they produced some truly wonderful music. Sleep Well Tonight is of particular interest as it’s one of the few songs ever recorded (the only one) which is about Watford (‘this lay-by, this excuse for a town’).

    • Hey! I picked Gordon’s Garden Party, as a deliberately slightly obscure choice that I didn’t think anyone else would go for. But I’m happy to change it to “Sick and Tired” or “Daddy’s Car” instead.

      I liked Gene too.

  13. Will have a think of tunes in a moment, but just wanted to contend the opening remarks that Britpop couldn’t compare to the alleged ‘golden age’ of the sixtes. For ME it not only compares, but pisses from a great height on all those crappy old tinpot 60s bands!:)

    A while ago there was a comment on RR saying how lucky the person was to have been around in the 60s to get to see – insert random list of 60s bands – live. I didn’t respond to it, as I’m not the kind of person to get into faceless internet arguments with people I barely know, but it did piss me off. He was right of course, he WAS lucky, but what the arrogant old sod failed to acknowledge is that EVERYONE is lucky to have been born when they were, as it is the music of each generation’s youth that is important to THEM. It’s impossible to say that Blur were better than the Kinks or whatever, but for ME, there is no question – Damon and the boys were far superior on every level, but that’s because they were more immediate and relevant to me and my life.

    Personally, I’m jealous of each subsequent generation because they not only have all the new and innovative sounds of NOW to get youthfully excited about, but all the music of the previous 70 years of popular music too.

    Ahh…..rant over….1995? Hmmm…..

    • If I was the arrogant old sod, I apologise unreservedly, panth. But I won’t hesitate to assert that being around for the Sixties has the edge because it was the first time that so many sounds/styles were heard. There have obviously been innovative artists since but many of the templates were designed back then.

      • No, not you Chris!! Although it may be true (although Shane says otherwise!) that it was the first time, the point is that for each generation the music of their time is year zero.

        “Nevermind” is as old now as “Sgt. Pepper’s” was when “Nevermind” came out. To me at the time, the Beatles seemed a million years ago and meant absolutely nothing to me. For a grunge kid like me, it’s difficult to believe that Nirvana can be meaningless to today’s generation, but that’s the way it goes – and so it should!

      • I quite agree that whatever music you ‘get’ in your teenage-ish years remains special. Maybe the bottom line here is us Sixties kids were surrounded by older people who, by and large, not only didn’t ‘get’ it but thought it was all dreadful and definitely ‘not music’. That generated a great feeling of yoof rebellion and solidarity.

        Later generations have enjoyed that feeling of rebellion to an extent but that’s been diminished by older codgers saying ‘That’s just another Beatles/Stones/Who/Dylan/Floyd/Byrds rip-off’….. It was only when he arrived at hip-hop that my son got the dreadful and definitely ‘not music’ reaction from me 😉

      • Chris – the 80’s was exactly the same – the reaction to rap and hip hop, new order and the petshopboys NOT using real instruments, BoyGeorge, Mossisey with his hearing aid and flowers – it was just the same style of reactive dismissal as the Beatles and their style. Some things were musical differences, others the bands look or openly sexual preference …. 88/89 and raves taking over with sampled music and entirely machine made. We got criminal justice bills passed and freaked newspaper headlines to stop our music! Just as your generation had powers trying to opress them. Our youth rebellion had riots too. The 90’s cotinued that in their way – the 60’s generation hated our thing just as much as your parents, and just as much as Mitch’s parents hated his Rock and Roll. I love it…. And it should always be thus.

    • Brilliant and totally agree – and it only takes a few years difference (or decades) in birthday to have a completely different outlook – to those a little younger than me Nirvana are the bees knees and all that grunge – but when they hit the scene I’d been listening to Pixies/Dinosaur Jr/Jane’s Addiction etc etc for half a decade and Nirvana and their ilk seamed a pale copy of what I adored – I knew my favourites lineage from Velvet Underground/Stooges/MC5’s (and Peter Paul and Mary) but they weren’t MINE and what came after were not mine.

      All years/all bands/all decades have their inspiration and perfection – but they are idiosyncratic to the individual… and however many times a 60’s kid says we were the best – I chuckle – because it’s not true.. not only were they not the best (because it’s personal taste – and I’d argue until I was blue in the face***- that there was equal and often more diversity in all decades since) but the 60’s wasn’t even the first. A few kids with hair to their shoulders copying the blues then playing with the tape isn’t as radical as inventing Rock and Roll in the ’50’s.

      ***no I wouldn’t – because it is impossible to quantify.

      • it is wonderful how each generation gets excited by new bands, essentially doing the same sort of thing as previous bands, but in a new way and 3 years can make a big difference let alone decades. I don’t think we need to attack each other for having different views though.

      • Ultimately, though, the whole thing is a sterile argument. The reality is that every few years, the music changes a bit and new fans emerge, usually in their early teens. They don’t care about the past, they care about the NOW. It has always been that way and I expect that it always will be.

        My musical golden age is the decade from 1965 to 75, precisely because they were the years when I was growing up and experiencing my musical education. That isn’t to say that there is nothing after 1975 that I like, because that would be silly, but it does mean that much of the music I love the most comes from that period.

        We all like different things, life would be dull if we all liked the same things.

    • I agree with Panther’s general thrust there. There’s always people who as far as they were concerned were around for the real deal, and everybody who’s got into music since can only ever experience something inferior. They’re not restricted to the sixties either.
      1995 was great for me at the time, not only was I getting into a lot of old stuff I hadn’t heard before, I was discovering a lot of new bands (or in some cases old bands that hadn’t really done much before) – Braindance, Oxymoron, Short N Curlies, Sad Society and Contempt stick out. Some of this stuff I still rate, a fair bit lost it’s appeal and the records left my collection via ebay, but that’s how it always is. I was a bit surprised when I began t get to know a few punks who’d been around since the 80s to find out how little interest there was in new bands. Always the way.

    • Well Panther the one phrase that catches my eye is your statement ‘all those crappy old tinpot 60s bands!:)’
      Even the inclusion of the so-called funny face at the end didn’t cut it. I’d like a list or some examples of those ‘crappy old tinpot bands’ and maybe some of their crappy tinpot songs. then perhaps a musical comparison to whatever you think is relevant and why. Blur,? Who are Blur, did they ever record anything of consequence?
      What you seem to overlook is what happened musically in the 1960’s. Have you ever considered the musical changes that occurred in the decade between 1955 and 1965? Just go back and research the pop hits of 1955, and then compare them to what was happening in the mid ’60’s.

      Pat Boone,
      Tennessee Ernie Ford
      Johnny Ray
      Mitch Miller, et al
      Rolling Stones,
      Beach Boys,
      Moody Blues,
      Greatful Dead ,
      Quicksilver for starters.
      Compare yours to the music of all those ‘crappy tinpot bands’ who revolutionised the musical world. Give me one tune that any of your hero’s produced that merits any attention by anyone other than an adolescent of that era. Is there anything that can compare with the output of a single group like the Beatles?
      Show me any significant musical evolution that occurred in the decade prior to 1995.
      I don’t know who ‘the arrogant old sod’ is but you only need to read the last two weeks lists to get a grasp of how people feel about what happened in the ’60’s.

      • Hello, goneforeign.

        1995 was a crucial year for music n many ways. Some of it was good and some of it was bad. For me, one aspect of Britpop was that it was all rather familiar as I thought it was just a continuation of C86. However, what was different was that there was less tweeness to the sound and the lyrics and the production was bright and clear. Pulp’s lyrics didn’t just talk about a general feeling, they actually reflected how a generation felt and lived. The lyrical concerns were sharply observed vignettes and stories of contemporary life. It felt like a contuation of seeing the film Shallow Grave at the cinema. Suddenly the music I had loved since 82 was overground and accessible. It was as if people were finally looking at the microworlds of British life and culture and putting it into song in a way that few had done before.

        Furthermore, this wasn’t just a lads club Sleeper, Elastica, Dubstar were getting their world views across with humour and irony and it was thrilling to hear. The music itself was wonderful. Angular, poppy, stealing dancebeats, referencing the past but making it relevant to today and working in the music of immigrants alongside the echoes of the Kinks – think of Dreadzone or Cornershop. It was chirpy and cheeky and also full of darkness and self criticism. It was distinctly British except for the Swedes, who were even more British than the Brits.

        But the other things that were going on were not just boys and girls with guitars. Shoegaze was waning but was a very romantic but melancholy British sound but that sound prepared me for the chiller sounds that were to come from say Nightmares on Wax. At the beatier end of electronica were The Chemical Brothers who funked and rocked rap and particularly hip hop in a manner that united the smoothness of house with the rawness of funk and rock. Best of all were the garage/jungle sounds that took from dancehall reggae and techno and produced something uniquely British. The type of drops that you find in EDM now were first being produced around then.

        Then there’s the Bristol scene and triphop with it’s dub influences and very British paranoia and sense of urban space in the music. Across the water and up north metal was getting symphonic but also very black, industrial sounds and metal were moving together in the shape of bands like Rammstein and lots of other countries were developing their own sounds and voices and moving away from the anglo-saxon template. Hello Sähkö records in Finland and the electro pioneers in Finland Jori Hulkkonen, Sasu Ripatti, Radio Rinne. Even the short trip to Rotterdam was eye-opening as the merciless aggression of house-music-on-steroids that is gabber held sway.

        In the US, gangster rap was in full flow and really at its height before there became an excessive of thuggishness. Neo-RnB was dominant, sexy and fresh (oh Adina Howard ;p). But in the funkier jazzier underground hip hop and rap was cool and Jazzmatazz was feeding back into the chillier UK sounds and extremely conscious. Meanwhile US women were producing great lyrics and out rocking the men and being far more cutting and sharp with their lyrics than the old cockrockers

        It was fantastic and yet it doesn’t really show in the UK charts where novelty and Robson and Jerome kept it dull but they were challenged by all these subcultures suddenly vying for attention. It was a huge leap forward in sound and beats and technology and lyrical content. But there wasn’t unifying sound and no single band captured everyone’s imagination. In some respects 1995 is the first clear indication of scenes stealing sounds from each other but remaining largely locked in their own subculture, which actually leads to the utterly fragmented youth cultures of today, where scenes come and go on the internet before they’re even co-opted by the mainstream.

        You would’ve loved it.

        No time to look back and proof: press enter…

      • Amazing summary of the times Fuel…..just amazing, I agree with every single word!

        In my own response to GF, all I can say is “I rest my case”!

        I’m not trying to take away from your experience, all I’m asking is that you don’t devalue mine.

        I could easily argue that not one of the bands you mentioned wrote anything as universally beautiful, melancholy and uplifting as “Tender” (Blur), as viscerally exciting as “Rock’n’Roll Star” (Oasis) or as sociopolitically perceptive as “Common People” (Pulp), but there wouldn’t be much point as we would hear them with different ears.

        I admit I was being a bit cheeky with the ‘crappy tinpot bands’ line, but to be honest, they do sound a bit crapy, and well…..tinpot to my modern ears – like giving a kid with a 3DS a Donkey Kong game and expecting him to be impressed because it is more advanced than Pong.

        As for musical evolution between 1985 and 1995, Shane’s probably better poised than me to answer that, but as outlined beautifully by Fuel, the advances in hip-hop and dance music were simply breathtaking. The differences between say, Duran Duran and Atari Teenage Riot are so huge as to be almost incomprehensible. That’s to say nothing of the mainstreaming of alternative rock music and culture that was such a seachange that the 90s rather unfairly made the 80s look far more naff than they actually were.

        As Fuel said, in a parallel universe I’m sure you would have loved it!

      • Thank, panther. Didn’t even think about the mainstreaming of alt-rock but that’s really true. And it was very different between the sounds in the UK and those from the USA, which is such a difference between 67 and 95. Cheers.

      • I’m not sure why some comments get the ‘reply’ option and others don’t. I’ll post here adjacent to your comment.
        Fuel: I’m in awe of your knowledge and eloquence re. this phase of pop music, sadly from my point of view most of the names that you cite are meaningless to me. By 1995 I’d left LA and was living in a rural area and my main involvement with music was my weekly radio program and an interest in African, Latin and Brazilian music. In LA I’d lived adjacent to the areas where gangsta rap was prevalent and it totally turned me off rap and hip hop forever. I was not at all impressed with Nirvana nor with his wife’s subsequent group and I can’t really recall any others from that period. So, perhaps it’s a generational thing, some of my tastes were set long before 1995; you obviously know and love the music that you’ve cited and I could do similar with a whole different group, let’s agree to disagree, taste is personal and subjective, to each his own.

      • Cheers, goneforeign.

        A lot of my taste comes from having access to cheap records when young and being part of that generation that grew up having been exposed to a really broad range of influences; albahooky’s superb picks are a perfect example of artists melding a huge variety of influences together.

        The other thing is many of us born in the second half of the sixties or early 1970s didn’t really grow up and kept on listening out for the brand new sounds. We also followed the developments as scenes split into ever smaller scenes, though sometimes they became larger scenes than the ones they sprang from. Also, some youth cultures just seemed to be open to older generations as well and weren’t just for that teen and early twenties period of life.

        I’m actually pretty happy to have been born when I was. My father, mother and grandparents gave me a neat overview of past sounds and I became conscious of music when punk and then 2-tone ska broke in the UK; it was relatively easy to access the past and keep up with trends since then.

      • “I’m not sure why some comments get the ‘reply’ option and others don’t”

        the explanation for this is: The reply button is underneath the original comment (there can be many of these comments under the original POST).

        when someone first replies to a comment, ANY individual comment under the POST, that becomes ⌗1 reply – a 2nd person adds a comment to that it becomes ⌗2 reply – but neither of these gets their OWN reply button – otherwise NEW comments would be inserted in everywhere and the thread (the comments) would not read very well at all.

        as a visual person it might be more understandable like this:

        … comment (option to reply – not taken)
        … comment (option to reply)
        …………reply ⌗1*
        …………reply ⌗2*
        …………reply ⌗3*
        … comment (option to reply)
        …………reply ⌗1*
        …………reply ⌗2*

        *replying to these you return to the original comment – click reply – and stay in that indented order (the replies typography is stepped in – to show it’s a reply to the original) … hope that helps rather than confuses more.

      • Can we all just get along?

        I’m an old hippie fart, but i can find music that i love from pretty much every era since i could hear. Even now. Love 60’s and 70s rock, soul, folk, punk, and funk. Love 80’s pop and old school hip hop. Love 90s grunge and Britpop. Love millenial indie, psych, surf, janglepop revivals. If i seem to have a preference for some older stuff, it’s just because it’s been with me longer.

      • btw Fuel, you’re kinda wasted as a DJ in a small club in Finland. You should have your own show, and somewhere you must have a book in you. Really excellent post.

      • Some brilliant posts here.

        I’ve always envied the 60s, and kind of wished I’d grown up in that era. That’s partly because I think a lot of the music is wonderful, and the explosion of creativity and innovation must have been amazing to hear first hand. But I think it’s also the idea that the music mattered: that young people were, or felt they were, changing the world, and that music was both a celebration and a cause of that.

        I imagine early rock’n’roll, punk, acid house and other scenes must, to varying extents, have carried a similar importance, although without, to me, the same musical richness.

        We didn’t really go in for revolution in the 90s. We were too post-modern and ironic. Britpop soundtracked that nicely.

        Appreciate the music of the past. Cherish the music you grew up with. Discover new music all the time. Sounds good to me.

      • Hear hear!

        Some great comments indeed – apologies for my original negativity, I was just being cheeky to make a point. I love a lot of 60s stuff too!

      • Amy, if I ever write a book, I’ll dedicate it to you. I have an idea for a radio show and there is a radio station in Finland that may be so lacking in money it might let me on. But that would require me speaking: rapidnervousbabble followed by dead air. Plus, I swear a lot and I’m bound to get caught saying, “Ahmnotplayinthatfookinshite!”

      • Then again perhaps you folks saw how well our revolutions worked out for us after all that. Irony (masking despair) was most likely the appropriate response.

      • As an interesting aside Jeff Lewis does a brilliant history of Punk on the lower east side – it’s often taken as a side swipe (tongue in cheek, but also; look it’s true – like panthers original fun rant) at the Malcolm McLaren/Sex Pistols hype of “we British invented Punk”…

        Thanks everyone for a great discussion – I like a bit of bite sometimes – here’s Jeff and his brother:

  14. Hm, think I’ll go for:

    Belly: Now They’ll Sleep
    Boy George: Il Adore
    Take That: Back for Good (I mean, COME ON!)

  15. Lots of stuff to choose from, obvs Oasis, Blur and Pulp…especially Pulp, they were definitely something special and Different Class is one of the albums of the decade for me.

    Coming out of 1994 and the more punky NWONW stuff that I loved (S*M*A*S*H, These Animal Men, Compulsion etc), 1995 definitely had a more poppy element, the bouncy enthusiasm of Supergrass and Ash were a breath of fresh air and the perfect time to be a teenager.

    I’ll probably re-think it later, but for now I’ll go ultra-Britpoppy and go for:

    Ash – Girl From Mars
    Bluetones – Slight Return
    Menswe@r – I’ll Manage Somehow

    • Ultra-Britpop donds for all of those. Now just waiting for someone to mention “Wake Up Boo!”… and “Alright”… and “Inbetweener”…

  16. Donds for Elastica (another album of the decade), Black Grape, Tricky, TLC (still love that), Cardigans, Fannies, Beasties and lots more!

  17. 1995 – two words : Mo’ Wax

    DJ Shadow – What does Your Soul Look Like? Pt.2
    Sam Sever & The Raider Of The Lost Art : What’s That Sound?
    Rob Dougan – Clubbed To Death

  18. 1995 eh? Vintage Adidias trackies. Skinny cords, skinny fit t-shirts. Decent Es. Cutting a rug at the indie disco. Raving in a railway arch. Art School. Britpop & new new wave. Britart and yBAs. Nice one, mate, sorted, yeah – see you later.

    “She Said” – Longpigs https://www.youtube.com/watch?v=dutG1mcfkpo
    “Leave Home” – Chemical Brothers https://www.youtube.com/watch?v=f0_pU7F5E3U
    “Waking Up” – Elastica https://www.youtube.com/watch?v=WlOje4ly4hg “Make a cuppa tea, put a record on” – words to live by.

  19. late and on hols, but by quick analysis and helped by comments above:

    heart of darkness – sparklehorse
    seaweed – tindersticks
    wisdom – Brian Jonestown massacre

    of these prob only listening to tindersticks album in ’95, sparklehorse soon after, BJM a while longer. I remember listening to flying saucer attack a lot around the time as an attempt to cure my insomnia. not so much listening as putting it on the lowest volume and trying to fall asleep to it.

  20. http://www.theguardian.com/music/2015/jun/28/1995-dance-music-britpop-orbital-leftfield-underworld

    The Guardian have been stealing from Barbryn’s Spill blogs:

    This was the year of Leftfield’s Leftism, Tricky’s Maxinquaye, Goldie’s Inner City Life and Coldcut’s Journeys By DJ: 70 Minutes of Madness, of Hideaway by De’Lacy, Born Slippy’and Da Funk. After Tribal Gathering and Orbital at Glastonbury, dance became the main event at any festival. The DJ mixtape was supplanting the compilation CD. The independent Mixmag crept up on the indie mags and would soon outsell them. The demarcation between serious music fans and hedonist clubbers melted away. The best new rock stars (Pulp, Blur, PJ Harvey, Elastica, Supergrass) acted like pop stars, phobic of boredom and of being boring. Fashionable aloofness became unfashionable. The reason why 1995 sits with 1967, 1977 and 1988 among pop culture’s true glory years is that it was democratic. Everyone was into everything. And, for a very short moment, everything was amazing.

    • I like this:

      “Weak Become Heroes” is a song by The Streets, which was the third single from the album Original Pirate Material. It was released on July 2, 2002.

      The song concerns Skinner’s experiences of rave culture in the mid-1990s. He says:

      The reference I made to Nicky Holloway, Danny Rampling and all that were because I was intelligent enough to find out that those were the guys that started it. So it was 1995, it wasn’t ’89, even though everyone thinks it was about ’89. Which goes to prove that that experience is the same experience that was had for everyone, even though people in 1989 will say it was better in 1989 than it was in 1995. Because I never experienced 1989…..

      Skinner also makes reference to the Criminal Justice and Public Order Act 1994, an act which was seen as curtailing the rights of people to host raves.

  21. In 1995 I was feeling pretty out on a limb, disenfranchised, if you will. By the end of 1994, all of the below things had happened in the space of seven months.
    After seven years of comfort, DsMam & I had bought our first home together (as opposed to my moving in at her previous ‘ickle, cheap, mid-terrace), so were feeling the unfamiliar pressure of a decent-sized mortgage; I’d moved employer, only to immediately realise how much of a good thing I’d been on before I let boredom get the better of me; and I’d lost my [male] best friend to a car crash. Then in November I hit 30 y.o.
    I had my mid-life crisis early!

    Britpop passed me by in the fast lane whilst I was idling. Julie & I didn’t club; neither of us has ever popped a pill in our lives, so we hadn’t really felt any connection to anything dance/baggy/whatever. Oasis vs. Blur just wound me up – sulky Manc thugs and chipper Essex smug gits would be a fairly accurate summary dismissal of my thoughts at the time.

    Like it or not, I found myself drawn to Alanis’ flame (and by extension, albums like Joan Osborne’s Relish), because after a mighty fine 1994, 1995 was a letdown in heavy rock – Thunder‘s Behind Closed Doors and UFO‘s Schenker comeback LP Walk On Water were typically underwhelming examples. But that didn’t satisfy either. At the time I didn’t pick up on several subsequent DsD faves that were ’95 releases: Mad Season, Tindersticks, Red House Painters, etc.

    I did pick up some winners in my HMV splurges – Rocket From The Crypt, Spacehog, Del Amitri, Tom Cochrane, Skunk Anansie and more, and I obviously have some donds for selections above.

    I’m staying out of the debate about era comparisons other than to say that both sides have valid arguments, the “my generation” point is the crux of the matter, and that had panth made clear that “crappy, tinpot” was about the recorded sound given us by limp recording/production techniques in the 1960s, rather than the bands themselves, I’d have climbed off the fence into his garden.

    So, belatedly, my three, from albums released in 1995 that I DID buy:

    Terence Trent D’Arby – Resurrection
    Natalie Merchant – I May Know The Word
    Sparklehorse – Cow

  22. 9 months late again. 1995 was the year I moved back to the UK from Los Angeles. At the end of the year we bought a house in Brighton. My top tunes at the time were :
    Untold Stories – Buju Banton
    Philosophy – Ben Folds Five
    If You Love Me – Brownstone

    but Maxinquaye, Orange Crate Art, Grand Prix, I Should Coco, The Bends and Protection were on heavy rotation too…great year for music…

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