The Age of British Indie Rock 英伦独立摇滚世纪
Alex Kapranos(Lead Vocalist of Franz Ferdinand): Creating something, whether it’s music or art or writing…whatever you’re doing, you are going to be affected by what’s gone before you. And to try and pretend that that’s not the case is 1)insincere and 2)artificial. (Song) I think, for me, it’s much healthier to be able to acknowledge what’s gone before and then try and do something different with it.
Narrator: For years, the indie scene was British music’s best-kept secret, home to a generation of rock 3)misfits.
Alex: Indie, independent music, represented almost like a membership card of the outsider gang for a lot of people, too. You know, taking on the 4)pricks, kicking against the pricks, like, kicking against that sort of, like, 5)blandness.
Narrator: But as indie 6)morphed into Britpop, Oasis and 7)arch rivals Blur stormed the barricades of daytime radio, and the British tabloids. So complete was their triumph that, for a moment, Noel Gallagher owned British rock.
(Song)Damon Albarn had found a lyrical focus, Britishness, and how it was under attack from American consumer culture.
John Harris(Rock Author and Journalist): To be a Briton was actually about these areas of England, like Essex, where he was from, sort of caught in this cultural 8)twilight zone, really, that all this American stuff was flooding over so everyone was building shopping malls, you know, 9)Bluewater and all these places, and obviously McDonald’s, KFC, and all that.
Narrator: Indie music was no longer about being outside the mainstream, it was the mainstream.
Stephen Street(Producer of Blur): They were appealing right across the board. You know, they were appealing to all the students, they were appealing to all the guys that were working on building sites and in vans around the country. And their records were going multi-platinum, no one had heard of this before…that was the 10)domain of Celine Dion and 11)Tina Turner and Phil Collins, it was, like, unheard of. And it was suddenly upon realizing, actually, no, this kind of 12)alternative music, the stuff that we’ve always been working on and always thought was a kind of secondary if not third market, has now become the premier market, it’s what people want to listen and buy.
Narrator: It was Blur who won the race to number one, but the Oasis camp weren’t at all shaken. The band’s second album had been completed, and those that heard it knew that the game wasn’t over.
Tim Abbot(Managing Director, Creation Records): I was quite proud of it though in one way I suppose as well, you know, even though we came second, ’cause I knew we were just going to do ’em on the album, just 13)belt ’em to bits on the album, so it was like 14)far out, we’re going to sell more.
Narrator: The songs of (What’s the Story) Morning Glory? saw the group move away from the raw sound of their 15)debut.
Steve Sutherland(Editor of NME): Well what happened with the second Oasis album was that they, that Noel began to take seriously being the voice of a generation, or the lyricist of a generation, started to write 16)anthems, 17)self-consciously write anthems…he wanted the music to be bigger.
Narrator: Of all the anthems on the album, one song would come to define the new Oasis.
“Wonderwall” brought Oasis an entirely new fan-base, most of whom had never bought an indie record before in their life.
Noel Gallagher: The 18)squares got involved, and once the squares get involved with your music, you f**king become massive, seriously. But “Wonderwall,” it’s not, you know, it’s not an edgy tune, is it? I can’t believe how many records it sold, it was incredible. I became a millionaire four times in one week, one week.