|
''Modern Life Is Rubbish'' is the second studio album by the English alternative rock band Blur, released in May 1993. Although their debut album ''Leisure'' (1991) had been commercially successful, Blur faced a severe media backlash soon after its release, and fell out of public favour. After the group returned from an unsuccessful tour of the United States, poorly received live performances and the rising popularity of rival band Suede further diminished Blur's status in the UK. Under threat of being dropped by Food Records, for their next album Blur underwent an image makeover championed by frontman Damon Albarn. The band incorporated influences from traditional British guitar pop groups such as the Kinks and the Small Faces, and the resulting sound was melodic and lushly produced, featuring brass, woodwind and backing vocalists. Albarn's lyrics on ''Modern Life Is Rubbish'' use "poignant humour and Ray Davies characterisation to investigate the dreams, traditions and prejudices of suburban England", according to writer David Cavanagh.〔 ''Modern Life Is Rubbish'' was a moderate chart success in the UK; the album peaked at number 15, while the singles taken from the album charted in the Top 30. Applauded by the music press, the album's Anglocentric rhetoric rejuvenated the group's fortunes after their post-''Leisure'' slump. ''Modern Life Is Rubbish'' is regarded as one of the defining releases of the Britpop scene, and its chart-topping follow-ups—''Parklife'' and ''The Great Escape''—saw Blur emerge as one of Britain's leading pop acts. ==Background== Blur's baggy-inspired debut album ''Leisure'' (1991) was a UK Top 10-charting record that, according to the ''NME'', made the band the "acceptable pretty face of a whole clump of bands that have emerged since the whole Manchester thing started to run out of steam".〔Kelly, Danny. "Sacre Blur!". ''NME''. 20 July 1991.〕 However, as the baggy scene soon began to fade, Blur were—according to ''The Guardian''—"()wiftly exposed as bogus trend-hoppers, () they duly caught the wrath of the Madchester backlash".〔Shelley, Jim. "Pop Art". ''The Guardian''. 12 August 1995.〕 Further, following their fall from public favour, the group found that they were £60,000 in debt, mainly due to mismanagement. Blur hired new manager Chris Morrison and, to recoup losses, were sent by their record label Food to the United States as part of the Rollercoaster tour.〔Harris, p. 66〕 To coincide with the start of the tour, Blur released the "Popscene" single; the new release showcased a significant change in musical direction, as Blur traded their shoegaze-derived sound for one influenced by 60s British guitar pop. However, the single failed to break into the UK top 30 which further diminished Blur's profile in the UK.〔Erlewine, Stephen Thomas. "('Popscene' song review )". AllMusic. Retrieved on 27 November 2010.〕 The 44-date tour of the United States left Blur in "complete disarray", according to writer David Cavanagh.〔 Dismayed by American audiences' infatuation with grunge and the lacklustre response to their music, the group frequently drank, and members often broke into fist-fights with one another. Homesick, the tour "instilled in the band a contempt for everything American", Cavanagh later wrote;〔 frontman Damon Albarn, who "started to miss really simple things (England )",〔Harris, pp. 73–75〕 listened to a tape of the English pop group the Kinks throughout the tour. Upon their return to England, the group discovered that the attention of the music press had shifted to Suede. The newcomers' success displeased Blur who, in Cavanagh's words, "were inclined to feel that every record Suede sold was an affront to human decency".〔 After many poor live shows, which Blur members often performed while drunk—in particular one at a 1992 gig that featured a well-received performance by Suede on the same bill—Blur were in danger of being dropped by Food.〔Harris, p. 78〕 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「Modern Life Is Rubbish」の詳細全文を読む スポンサード リンク
|