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''C86'' is a cassette compilation released by the British music magazine ''NME'' in 1986, featuring new bands licensed from British independent record labels of the time. As a term, C86 quickly evolved into shorthand for a guitar-based musical genre characterized by jangling guitars and melodic power pop song structures, although other musical styles were represented on the tape. In its time, it became a pejorative term for its associations with so-called "shambling" (a John Peel-coined description celebrating the self-conscious primitive approach of some of the music) and underachievement. The ''C86'' scene is now recognized as a pivotal moment for independent music in the UK,〔Bob Stanley, sleevenotes to ''CD86''〕 as was recognized in the subtitle of the compilation's 2006 CD issue: ''CD86: 48 Tracks from the Birth of Indie Pop''. 2014 saw the original compilation reissued in a 3CD expanded edition from Cherry Red Records; the 2014 box-set came with an 11,500-word book of sleevenotes by one of the tape's original curators, former ''NME'' journalist Neil Taylor. The ''C86'' name was a play on the labelling and length of blank compact cassettes—commonly C60, C90 and C120—combined with 1986. ==The C86 cassette== The tape was a belated follow-up to ''C81'', a more eclectic collection of new bands, released by the ''NME'' in 1981 in conjunction with Rough Trade. ''C86'' was similarly designed to reflect the new music scene of the time. It was compiled by ''NME'' writers Roy Carr, Neil Taylor and Adrian Thrills, who licensed tracks from labels including Creation, Subway, Probe Plus, Dan Treacy's Dreamworld Records, Jeff Barrett's Head Records, Pink, and Ron Johnson. Readers had to pay for the tape via mail order, although an LP was subsequently released on Rough Trade on 24 November 1986. The UK music press was in this period highly competitive, with four weekly papers documenting new bands and trends. There was a tendency to create and "discover" new musical subgenres artificially in order to heighten reader interest. ''NME'' journalists of the period subsequently agreed that ''C86'' was an example of this, but also a byproduct of ''NMEs "hip hop wars" - a schism in the paper (and among readers) between enthusiasts of contemporary progressive black music (for example, by Public Enemy and Mantronix), and fans of guitar-based music, as represented on ''C86''. ''NME'' promoted the tape in conjunction with London's Institute of Contemporary Arts, who staged a week of gigs, in July 1986 which featured most of the acts on the compilation. The tape included tracks by some more abrasive bands atypical of the perceived ''C86'' jangle pop aesthetic: Stump, Bogshed, The Passmore Sisters, A Witness, The Mackenzies, Big Flame and The Shrubs. ''C86'' was the twenty-third ''NME'' tape, although its catalogue number was NME022 (''C81'' had been dubbed COPY001). The rest of the tapes were compilations promoting labels' back catalogues and dedicated to R&B, Northern soul, jazz or reggae. ''C86'' was followed up with a Billie Holiday compilation, ''Holiday Romance''.〔()〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「C86 (album)」の詳細全文を読む スポンサード リンク
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