fairsharemusic Blog

Blur were at the centre of the Britpop maelstrom, key players in the changing landscape of the 1990s. The stories of excess, and the chart battle with Oasis, have created a legend around the band that cannot express the feelings of freedom and possibility that were the keys to the creativity of that era. Their music is the only real guide to understanding the explosion of Britpop.

The band’s first two albums, ‘Leisure‘ and ‘Modern Life Is Rubbish‘, were not particularly well-received by the critics. Singles like ‘She’s So High‘ and ‘For Tomorrow‘ were relatively minor successes, when compared to what would follow. It seemed to be the sound of a band finding their musical identity but their drive to find a British sound, less beholden to American influences, was the inspiration for their third LP.

‘Parklife‘, released in 1994, was the band’s ‘Big Bang’. From this point nothing would be the same. The singles ‘Girl And Boys‘ and ‘Parklife‘ ensured the album stayed in the charts for nearly two years, having started at number 1.

The band released their fourth album, ‘The Great Escape‘, in the midst of a storm of hype, mostly due to the manufactured battle with Oasis for chart superiority. It was received with rapturous applause by critics and fans, and again entered the charts at number 1. The lead single, ‘Country House‘, was equally successful, with ‘The Universal‘ peaking at number 5. Things were starting to fracture though.

‘Blur‘ was a conscious departure from the two previous albums. The band, and lead guitarist Graham Coxon in particular, felt a need to pare down the production and develop a more aggressive style. The result was an album that, while selling and charting well in the UK, found a more receptive audience in America. The single ‘Song 2‘ was a huge success and brought a new audience, though some were alienated. The more obviously thoughtful ‘Beetlebum‘, however, was in fact more representative of the their later music.

March, 1999 saw the release of ‘13‘. Continuing in  new directions, Blur had hired William Orbit as a producer. An artful and complex LP, it contained what is arguably their most beautiful song, ‘Tender‘. At 7 min. 40 secs. it has sparked some of the greatest moments in live music, with thousands singing along during concerts, and leaving Albarn and co. visibly moved. ‘Coffee and TV‘ and ‘No Distance Left To Run‘ were both successful singles and helped to make it the band’s 4th straight number 1 album.

Blur‘s final album was a very different affair. After Coxon‘s departure, ‘Think Tank‘ was largely guided and written by Damon Albarn. It was more representative of Albarn‘s other project, Gorillaz, as well as his love of Middle-Eastern and African music. It yielded great songs, though, like ‘Out Of Time‘ and ‘Crazy Beat‘.

From art college band to Britpop linchpins, rightfully considered legends, Blur have seen and done it all. They have developed and changed styles, attitudes, and come to the attention of a new generation. Their two songwriters have enjoyed creative solo careers and, in the case of Albarn, created a new animated phenomenon. Their live reunion concert sold out in two minutes, their appeal still enduring. The catalogue is strong enough that they would never need to record again, but now we have new material and news of another LP in the pipeline. It may just be the start of a great new era.

Fans of Enter Shikari not only have the chance to WIN x2 tickets to see the band at a venue of your choice on their upcoming UK tour, but will also get the chance to meet the band!

For your chance to enter, simply buy ‘A Flash Flood of Colour‘ or any track off the album and support ActionAid at the checkout, it’s that easy. It’s a great competition for a great cause.

To find out more about ActionAid please visit www.actionaid.org.uk

Entry Terms and Conditions:
1.      This promotion is available only to Eligible Participants. An Eligible Participant is a person who is a resident of the United Kingdom of 14+ years and over. ActionAid reserves the right to verify the eligibility of Eligible Participants. Employees of ActionAid or Fairsharemusic and their families are not eligible to enter. By taking part in this Promotion, Eligible Participants confirm that they accept the Terms below.
2.     No purchase is necessary.
3.     The deadline for entries is 17.00 on 5th March 2012
4.     Winners will be chosen from all purchases received on ActionAid’s Fairshare music shop http://actionaid.fairsharemusic.com/. Fairsharemusic will send ActionAid a list of the entrants via email and the winners will be selected by ActionAid on 6th March 2012 at ActionAid’ London office.

5.    An entry is defined as purchase of any track or the whole album ‘A Flash Flood of Colour’ from the ActionAid Fairsharemusic shop.

6.      The winners will be selected at random by ActionAid in a prize draw and notified by email by 18.00 on 09th March 2012 and he/she will be required to confirm his/her acceptance within 48 hours in the manner specified in the notice. If the prize remains unclaimed after this time or is rejected, a supplementary winner may be chosen at ActionAid’s discretion and will be notified by email.
7.       ActionAid accepts no responsibility for damage or loss resulting from misdirected or incomplete entries arising from computer malfunction, viruses, bugs, mobile phone malfunction, mobile signal, delayed or lost text messages or other such causes. ActionAid is in no way liable for the reproduction or indirect access via third party web sites which misstates or omits any of the information or Terms connected with this Promotion.

Prizes
8.       The prize is x2 tickets for an Enter Shikari 2012 UK tour date – of the winner’s choice  http://www.entershikari.com/shows/ and the opportunity to meet the band backstage. Travel to and from the event is not included in the prize. Entry: 14+. Under 14’s must be accompanied by an adult

Winner details
9.      These Terms apply to both people attending the event (winner and guest) and references to the winner include (where the context permits) the winner’s guest.
10.   The name(s) of the winner(s) may be obtained by sending a written request including the name and date of the Promotion and a stamped self-addressed envelope to Bollocks to Poverty 33-39 Bowling Green Lane, London, EC1R 0BJ.

Alternatives to prizes
11.        Prizes are non-negotiable and non-refundable. No cash or credit alternative will be offered. ActionAid reserves the right to provide substitute prizes of similar value should the specified prizes become unavailable for reasons beyond its control.
12.     Prizes are not valid for refund if the event is cancelled or rescheduled.

Disclaimer
13.     ActionAid accepts no liability in respect of any prize, nor does it give any warranty or guarantee. All third party terms and conditions applicable in relation to the prizes are incorporated to these Terms and the winner and guest hereby agree to be bound by them.
14.     ActionAid reserve the right to cancel or amend without notice the Terms of this Promotion and any tickets issued in the event of major catastrophe, any actual or anticipated alleged breach of any applicable law, regulation or any other circumstance beyond ActionAid’s control.
15.    Proof of age may be required to claim this prize, and festivals may request photo ID for both the winner and their guest.  ActionAid accepts no liability if the winner is refused access to the event.

Publicity and promotion
16.     By entering this Promotion, you agree to the personal data you supply being used by ActionAid to administer the Promotion. ActionAid may also use the information for direct marketing (which can include marketing by electronic means) at the Eligible Participant’s request or with the Eligible Participant’s consent.
17.     By entering into this Promotion, Eligible Participants agree to assign the copyright and all other rights in their entries to ActionAid for the full period of copyright protection. ActionAid shall be free to assign such rights to third parties.
18.     Promotional materials form part of these Terms.  This Promotion is governed by English law and is subject to the exclusive jurisdiction of the English Courts.
19.    Promoter is ActionAid, 33-39 Bowling Green Lane, London EC1R 0BJ. Registered charity number 274467

Whitney Houston was among the most gifted and successful singers of recent times. Her family and background demonstrated a true musical pedigree. Her godmother, Aretha Franklin, and her cousin, Dionne Warwick, have both made their mark on music. From a young age it was apparent that Whitney had a gift.

As with many soul and RnB singers, Whitney Houston began by singing in the church choir. Guided by her mother, also a well-respected singer, she sang gospel music and played piano. She spent her teenage years learning her trade, singing live and recording backup vocals, as well as modelling. It was during this time that she learned the techniques and skills required for what would become her career.

Signed to Arista Records, Whitney Houston released her first album in 1985, at the age 22. Self-Titled, ‘Whitney Houston‘, was a huge success. It reached No.1 in the US, with singles like ‘Saving All My Love For You‘, ‘Greatest Love Of All‘, and ‘How Will I Know‘ receiving heavy rotation on the radio. She became one of the first African-American singers to break through on MTV and, as a a result, paved the way for a generation to succeed.

Her second album, ‘Whitney‘ was equally successful and included one of the biggest songs of the 80s, ‘I Wanna Dance With Somebody‘. Alongside other singles like ‘Didn’t We Almost Have It All‘, ‘So Emotional‘ and ‘Where Do Broken Hearts Go‘ it went to number one, and the world knew what America had already discovered: there was a new and exciting voice lighting up the charts.

There was now a weight of expectation on her shoulders and she decided to take her third album in a new direction. ‘I’m Your Baby Tonight‘ had a slightly rougher and more electronic sound, as well as collaborations with Luther Vandross and Stevie Wonder. Critiques were mixed. Some felt it was a brave and convincing LP, others saw it as a contrived effort to appear more edgy. What is certain is the success of the the singles, ‘I’m Your Baby Tonight‘ and ‘All The Man That I Need‘. Another pair of number one hits ensured her position as the most powerful vocalist of her era. What happened next, though, would redefine her career.

‘The Bodyguard‘, released in 1992 was a smash hit, both as a film and Houston‘s accompanying soundtrack. It achieved massive chart successs around the world, as did singles like ‘Queen Of The Night‘, ‘Run To You‘, ‘I’m Every Woman‘ (originally a hit for Chaka Khan in 1978, on which Houston sang backup vocals) and ‘I Have Nothing‘. It was ‘I Will Always Love You‘ that cemented the film’s, and Houston’s, iconic status. Originally written and recorded by Dolly Parton, it sold 4 million copies around the world and helped the soundtrack to sell a record 44 million copies.

Houston spent most of the 1990s pursuing her acting career and recording songs for those soundtracks. Her next solo album, ‘My Love Is Your Love‘, was released in 1998. It reflected that era’s funk and pop RnB sound with singles like ‘My Love Is Your Love‘, and ‘It’s Not Right But It’s Okay‘. With collaborations from Faith Evans, Missy Elliott, and Wyclef Jean it was very well reviewed, many critics feeling it had more edge and maturity. It eventually sold over 11 million copies worldwide.

Iconic is a word often over-used but in the case of Whitney Houston it seems to be the only one able to encompass her achievements. A winner of 6 Grammys, and over 400 other awards, selling more than 100 million albums and singles around the world, breaking chart records and race barriers during a 30 year career she is perhaps the best representation of the great, modern female vocalist. She has inspired and influenced great artists like Mary J. Blige, Mariah Carey and Beyonce and paving the way for so many modern black pop artists. She will be missed.

Some people might have taken a break. They might have put their feet up and rested on their laurels. They could have thought that a life of sedentary luxury was fully deserved after ten years as one half of the greatest song-writing team of the 20th century. Not Paul McCartney, though. He went on to record as both a solo artist and as part of another much-loved band: Wings. He has scored music for films, collaborated with great musicians, been inducted into the ‘Rock ‘n’ Roll Hall Of Fame’, and appeared on ‘The Simpsons’.

His solo career started 1971. With The Beatles nearing its end he released ‘McCartney‘. It was an album that, in many ways, reflected the band’s sound very clearly. It was, almost inevitably, criticised for sounding rough and unfinished. With some objectivity, it has now found its place among other great albums. ‘Maybe I’m Amazed‘ and ‘That Would Be Something‘ were praised though, even by most doubters.

A year later a second album was released. A collaboration with his then wife, Linda McCartney, ‘Ram‘ was seen as more complete. It was also more fruitful, not least because it brought McCartney into contact with drummer Denny Seiwell. The sessions also included a few tracks that would be used on later albums. 1971 was also the year that Wings was formed, with Denny Seiwell on drums and Denny Laine on guitar. Some songs, such a ‘The Back Seat Of My Car‘ or ‘Uncle Albert/Admiral Halsey‘ had a more relaxed feel and seemed to show a man more at ease.

For McCartney it was an opportune time to launch himself into a new project and carry on the process of leaving behind his old life. He was finding himself in new and refreshing waters and started to write more freely. The band’s first album, ‘Wild Life‘, was not particularly well-received by critics, again for seeming lacklustre and lightweight. It did yield a few well-liked songs, among them ‘Love Is Strange‘ and ‘Tomorrow‘. Things were about to turn around though.

In early 1973, they released ‘Red Rose Speedway‘, a well-constructed album with one truly significant song, ‘My Love‘. Then came the title-track to that year’s James Bond film, ‘Live and Let Die‘, still thought to be one of the greatest songs of the franchise. The band’s third album, however, remains their most commercially successful. ‘Band On The Run‘ is seen as the best album in McCartney’s post-Beatles canon. It contained great songs, production and the perfect album title. Stand out songs like ‘Jet‘ and the title track, ‘Band On The Run‘, have undoubtedly stayed the test of time.

Paul McCartney is the most successful of The Beatles, since the band’s split in 1970/71, and has worked for good causes all around the world. His enduring popularity lies not only in his past successes but also his present output, most recently with ‘Kisses On The Bottom‘, an album mostly consisting of covers of early 20th century classics. After all this, some might think to take it easy. Some, maybe…

Miles Davis has come to personify Jazz music. A pioneer and innovator, he was instrumental in forming and developing styles like bebop, hard bop, cool jazz and fusion.

His early experiences came playing as a side musician for Charlie Parker. He eventually fell out with Parker and became a band leader, starting a nine-piece group. It was during this time that he developed cool jazz, a more melodic style. The nine-piece did not last long, but the recordings resulted in the album ‘Birth Of The Cool‘. At the time it was considered a failure due to it’s lack of commercial success, but it has since become a very popular part of Davis’ body of work.

Davis then spent some time in Paris on tour but returned, despite his appreciation and respect for the city. As with so many jazz musicians of the time he found it to be a more liberal and expressive place than America. His return to New York did produce some very well-regarded music, though. He played as a freelance musician, as well as dueting with some of the most famous names of the era, players like Art Blakey and Sonny Rollins. He recorded material that would lead to albums like ‘Walkin‘ and ‘Blue Haze‘, and yet another new style, hard bop.

Hard bop was even further removed from bebop, with more solid tempo and blues influences. Davis started a quintet with a, then little-known, saxophonist called John Coltrane. The ‘First Great Quintet’, as the band has become known, recorded ‘Round About Midnight‘ and then, after a year and a change in the line-up, became a sextet to record ‘Milestones‘, two wonderful and extremely influential albums.

Between the first and second incarnations of his quintet/sextet, Davis returned briefly to Paris to record the soundtrack to Louis Malle’s film ‘Ascenseur Pour L’Echafaud‘. It was almost completely improvised and played with very little preparation.

It was in the next two years that Davis produced his most famous works. This fruitful period began in 1958, with the recording of ‘Porgy And Bess‘, a reworking of songs from George Gershwin‘s opera.

‘Sketches Of Spain‘, recorded in 1958-59, was derived from compositions by Spanish composer Joaquin Rodrigo and some original material from Davis’ long-time collaborator Gil Evans.

In early 1959, Davis and his sextet returned to the studio to record his seminal work, ‘Kind Of Blue‘. It has come to be considered as one of the most influential albums of all time, selling 4 million copies in the U.S. and shaping the global appeal of jazz.

In the 1960s Davis was introduced to artists like Jimi Hendrix and James Brown. By the end of that decade Davis had embrace electric instruments for his band. This gave him new inspiration and new directions for his music, resulting in albums such as ‘In A Silent Way‘. Both, this album and ‘Bitches Brew‘, feature extended versions of songs using techniques like tape looping and tape editing to create new arrangements. Davis proved himself to be open to new ideas and was still hugely popular despite the era being dominated by electric guitars.

Miles Davis is the name that most-readily comes to mind when anyone discusses jazz music and his influence is still clear today. Some of the world’s greatest musicians, from rock guitarists to hip hop producers mention Davis’ name as an inspiration.