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Last updated on June 30, 2025, updated monthly. |
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 1 . EMF - Unbelievable HDKnown for its catchy rhythm and vocal samples, "Unbelievable" by British band EMF captured the energetic vibe of the 90s alternative scene. Released in 1990, the song achieved international success, reaching number one on the Billboard Hot 100 in 1991. The music video is directed by Josh Taft. Writer(s) : Ian Dench, Zachary Foley, James Atkin, Mark Simon Decloedt, Derran Gene Brownson Publisher(s) : Warner Chappell Music Ltd Featured on the 1991 album Schubert Dip
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 2 . Shed Seven - Chasing RainbowsReleased in 1996 as part of Shed Seven's third studio album, "Let It Ride," "Chasing Rainbows" stands out with songwriting by Rick Witter and Paul Banks. Its moody video juxtaposes the band in a dimly lit room with cryptic imagery, aligning with the Britpop aesthetic of the era. Debuting on the UK Singles Chart on October 19, 1996, it peaked at No. 17 during its seven-week run. A "Top of the Pops" feature cemented its place in the band’s prolific 1990s TV appearances. While no official accolades are tied to the track, its enduring appeal persists through live performances, including the 2019 “Going for Gold” tour, and digital fan archives. The music video is directed by Paul Banks. Featured on the 1998 album Let It Ride
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 3 . Edwyn Collins - A Girl Like YouPerformed by Scottish singer-songwriter Edwyn Collins, "A Girl Like You" was released as a single in December 1994. The song, featuring a distinctive blend of alternative rock and soul, is built on a drum sample from Len Barry's "1-2-3" (1965). It features Paul Cook of the Sex Pistols and is praised for its catchy yet slightly funky sound, with lyrics admiring a unique woman. The music video is directed by John Flansburgh & Gavin Evans. Writer(s) : Paul Vincent Collins Publisher(s) : Paul Collins Music Featured on the 1994 album Gorgeous George
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 4 . Black Box Recorder - Child PsychologySplicing spoken word with a sung refrain, "Child Psychology" sidesteps sentimentality to narrate a series of childhood micro-traumas—mutism, school expulsion, and festive parental discord. The chorus’s infamous line, “Life is unfair, kill yourself or get over it,” lands like a slap, leading to bans on UK radio and MTV, though Xfm spins it with daylight nonchalance. In the U.S., post-Columbine, that line plays backwards, irony intact but audible. Critics appreciate the song’s arch detachment, while it finds unlikely placement in "Monkey Dust" and "Gilmore Girls." Writer(s) : Jonathan Edward Hoadley Foster Moore, Luke Michael Haines Publisher(s) : Universal Music Publishing Bl Limited, 3Mv Music Publishing Limited Featured on the 1998 album England Made Me
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 5 . Cast - WalkawayBecoming notable after being used by the BBC during Euro 96, "Walkaway" is the fourth single by Liverpool's Britpop band Cast, led by former La's bassist John Power. The song addresses the moment when all possibilities in a situation are exhausted, and staying would be self-damaging. Written by Power, it features a descending major scale melody reminiscent of classical and soul influences. Writer(s) : John Timothy Power Publisher(s) : B Unique Music Featured on the 1995 album All Change
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 6 . Lush - For Love"For Love," nestled within Lush’s debut album *Spooky*, feels like wandering into a hazy dreamscape curated by the shoegaze gods themselves, circa 1992. Produced by Robin Guthrie of Cocteau Twins, the track is saturated with shimmering guitars and ghostly vocals that practically beg for a rain-drenched British skyline as their backdrop. Miki Berenyi’s voice floats like an echo in the ether, delivering lines coated in unplaceable yearning against an instrumental that balances delicacy with dense layers of reverb. This isn't a song that rushes to any kind of resolution; it's more about unfolding a mood, one lodged between melancholy and quiet defiance. Charting at #28 on the UK Singles Chart, its moderate success is less a testament to its potential and more a reminder of how radio-friendly singles weren’t really Lush’s game at the time. The accompanying music video, directed by Martin Bisi, is more an artifact of its moment than an essential viewing experience, but it’s there if you’re in the mood for some early-’90s visual clichés. Fast forward to 2001, "For Love" earned its place on the *Ciao! Best of Lush* compilation, lending credibility to its role as a cornerstone of their catalog despite missing the awards circuit altogether. In live settings, the track took on grittier dimensions, cutting through festival air—see the Reading Festival '92 if you need proof this wasn’t just a studio darling. By the time they hit their *Lovelife* era in '96, you’d have thought the band had moved past this kind of gauzy, introspective haze, but it remains a snapshot of a period when Lush captured the essence of shoegaze's tender, shimmering identity. Featured on the 1992 album Spooky
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 7 . Utah Saints - What Can You Do For MeSampling Eurythmics' "There Must Be an Angel (Playing with My Heart)" and Gwen Guthrie's "Ain't Nothin' Goin' on But the Rent," Utah Saints’ "What Can You Do For Me" introduces innovative sampling methods for its time. Emerging from the UK’s early '90s rave scene, this track by Jez Willis and Tim Garbutt embodies the duo’s acid house and electronic rock roots, creating a genre-bending mix that paved the way for widespread sampling in electronic music. In 2012, a remix by Drumsound & Bassline Smith revived the track, resonating with newer audiences and illustrating its enduring influence. Writer(s) : Gwendolyn Guthrie, Jez Willis, David Allan Stewart, Ann Lennox Publisher(s) : Notting Hill Music Ltd (Uk), Pri Music Inc Featured on the 1991 album Utah Saints
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 8 . Shed Seven - Going For GoldRick Witter’s commanding vocals shine in this 1996 anthem of ambition and perseverance. The song’s lush arrangements and melodic rhythm explore the pursuit of success amidst challenges. A notable highlight of Shed Seven’s discography, it coincided with their departure from Polydor Records, marking the end of an era and cementing their status as Britpop icons of their time. Writer(s) : Paul Adrian Banks, Alan Steven Leach, Thomas Peter Gladwin, Richard James Witter Publisher(s) : Polygram Music Publishing Ltd (Gb) Featured on the 1999 album Going For Gold
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 9 . Kula Shaker - Hush“Hush” is a 1997 cover by English psychedelic-rock band Kula Shaker of the 1967 Joe South‑written song first made famous by Billy Joe Royal. Released as a single on February 24, 1997, the track reached No. 2 on the UK Singles Chart. The version combines raga‑influenced guitars with swaggering Brit‑rock energy and later featured on the soundtrack for *I Know What You Did Last Summer*. Writer(s) : Joe South Publisher(s) : Bike Music Featured on the 1997 album K2
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 10 . Oasis - Some Might SayReleased on April 24, 1995, Oasis’s “Some Might Say” serves as the lead single from their second album, "What's the Story Morning Glory?,” claiming the band’s first UK No. 1, reigning atop the UK Singles Chart for two weeks. Penned by Noel Gallagher, the track features Tony McCarroll in his final drumming appearance before his departure, succeeded by Alan White. The single’s B-sides, “Talk Tonight,” “Acquiesce,” and “Headshrinker,” later surface on 1998's "The Masterplan." Its triumph coincides with Britpop's global ascent, securing setlists at landmark gigs like 1996's Knebworth, witnessed by over 250,000 fans. The lo-fi video, drenched in rural grit and playful nonchalance, radiates the era’s charm. The music video is directed by W.I.Z.. Writer(s) : Noel Thomas Gallagher Publisher(s) : Oasis Music (Gb 1) Featured on the 1995 album (What's the Story) Morning Glory?
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 11 . Utah Saints - Something Good '08"Something Good '08" is a refreshed version of Utah Saints' 1992 hit, released in 2008. The video features actors Simone Edwards, Tim Garbutt, Jessica Grist, and Matthew Medland. Utah Saints, an electronic music duo consisting of Jez Willis and Tim Garbutt, bring a contemporary edge to this classic track, blending old-school beats with modern energy. Writer(s) : Kate Bush, Jez Willis Publisher(s) : Unknown Publisher, Noble And Brite Ltd Featured on the 2008 album Utah Saints
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 12 . Carter The Unstoppable Sex Machine - Sheriff Fatman"Sheriff Fatman" by Carter the Unstoppable Sex Machine is a 1989 single known for its critique of exploitative landlords. With references to notorious figures like Nicholas van Hoogstraten and Nazi war criminal Klaus Barbie, the song blends dance alternative and punk elements, capturing the band's distinctive sound. Writer(s) : Leslie George Carter, James Neil Morrison Publisher(s) : Island Music Ltd Featured on the 1991 album 101 Damnations
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 13 . James - Sit DownFirst released in 1989 and re-recorded in 1991, "Sit Down" by James, produced by Gil Norton for the "Gold Mother" album, crashes into the UK Singles Chart at No. 2 and lingers in the Top 10 for weeks. The original seven-minute arrangement morphs into a tighter, radio-friendly version, becoming an emblem of unity at festivals and concerts. Featured on "Top of the Pops" and the "Best of James" compilation (1998), its keyboard riff and Tim Booth’s stirring lyrics remain iconic. The music video is directed by Ed Barton. Writer(s) : James Patrick Glennie, Gavan Michael Whelan, Lawrence Gott, Timothy Booth Publisher(s) : Kobalt Music Services Ltd, Irish Town Songs, Kobalt Music Services America Inc
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 14 . Del Amitri - Always The Last To Know"Always The Last To Know" delivers Del Amitri’s familiar mix of melodic rock and reflective lyricism, tracing the unraveling of a relationship with a wry sense of resignation. Released in 1992 as part of "Change Everything," the track grants the Scottish band another spot on the US Billboard Hot 100. Justin Currie’s vocals guide a narrative steeped in bittersweet clarity, while MTV’s heavy rotation helps push the song beyond British airwaves. With a career spanning decades, the band continues to release new material. The music video is directed by Pedro Romhanyi. Writer(s) : Robert Justin Currie Publisher(s) : Polygram Music Publishing Ltd (Gb) Featured on the 1992 album Change Everything
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 15 . Saint Etienne - You're In A Bad Way"You're in a Bad Way" riffs on 1960s pop tropes with surgical precision, conjuring the breezy charm of Herman's Hermits in under ten writing minutes. Originally slotted for a B-side, it sidesteps that fate when the label hears commercial potential and steps in. Bob Stanley, Pete Wiggs, and Sarah Cracknell craft lyrics sketching a man receding into apathy, TV reruns, and questionable vintage fashion choices. The album cut opens with a sample from "Billy Liar" (1963), while the single version, produced by Alan Tarney, beams with a shinier, radio-friendly polish. Two videos exist: one budget-split-screen affair and another channeling 1960s television pastiche with era-accurate flair. Writer(s) : Sarah Jane Cracknell, Bob Stanley, Peter Stewart Wiggs Publisher(s) : Momentum Music Ltd (Gb), Warner Chappell Music Ltd Featured on the 1993 album So Tough
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 16 . Lush - Nothing NaturalProduced by Robin Guthrie of Cocteau Twins, "Nothing Natural" by Lush, from their 1992 album Spooky, exemplifies the band's shoegaze style with its ethereal melodies and saturated guitars. The lyrics reflect themes of personal transformation and renewal, delivered in a dreamy, introspective manner. Writer(s) : Emma Victoria Anderson Publisher(s) : Island Music Ltd Featured on the 1991 album Spooky
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 17 . Supergrass - Pumping On Your StereoKnown for its high energy and catchy refrain, "Pumping on Your Stereo" by Supergrass was released in May 1999 as the lead single from their eponymous third album. The recording features applause added to enhance the snare drum sound. The playful music video, with band members portrayed as puppets, contributed to the song's popularity with its humorous and original visual concept. The music video is directed by Nick Goldsmith. Hammer & Tongs. Garth Jenning. Writer(s) : Robert Joseph Coombes, Daniel Robert Goffey, Gareth Michael Coombes, Michael Milton Quinn Publisher(s) : Bmg Vm Music Limited Featured on the 1999 album Supergrass
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 18 . The Beautiful South - Perfect 10A major hit, reaching the second spot on the UK charts, "Perfect 10" by The Beautiful South, released in 1998, humorously addresses concerns about body size. This playful duet celebrates love in all shapes and sizes, with memorable lyrics like "She's a perfect 10, but she wears a 12," emphasizing that beauty isn't limited to traditional standards. The music video is directed by Grant Hodgson. Writer(s) : Paul David Heaton, David Ricardo Rotheray Publisher(s) : Island Music Ltd Featured on the 1998 album Quench
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 19 . The Beautiful South - Everybody's Talkin'The Beautiful South's 1994 version of "Everybody's Talkin'" is a cover of Fred Neil's song, popularized by Harry Nilsson in 1969. The track retains the pop-rock essence of the original while expressing a yearning for peace and escape from worldly pressures. This version by The Beautiful South infuses the classic with their distinctive style, maintaining the song's timeless themes. The music video is directed by Willy Smax. Writer(s) : Fred Neil Publisher(s) : Six Palms Music Corporation Featured on the 1994 album Miaow
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 20 . Oasis - Roll With ItOasis’s “Roll With It,” penned by Noel Gallagher, hits its stride as a no-nonsense anthem from their second album, “What’s the Story Morning Glory?” Released August 14, 1995, it faces off with Blur’s “Country House” in the infamous “Battle of Britpop,” landing at number 2 on the UK Singles Chart. Recorded at Rockfield Studios in Wales, its music video, directed by Nigel Dick, casts the band performing on Weston-super-Mare beach. Despite Liam Gallagher skipping the MTV Unplugged session in 1996, the track lives on in compilations like “Stop the Clocks.” The music video is directed by Matthew Amos. Writer(s) : Noel Thomas Gallagher Publisher(s) : Oasis Music Featured on the 1995 album (What's the Story) Morning Glory?
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ABOUT BRITPOPWhat is BritpopBritpop emerges in the early 90s, a period marked by a resurgence of national pride in the UK following the tumultuous decades of the 80s. The country, gradually recovering from the economic and social upheavals under Margaret Thatcher’s government, experiences a newfound sense of optimism with the rise of Tony Blair and New Labour. Britpop swiftly becomes the emblem of this new era, closely associated with the concept of “Cool Britannia,” where British culture—including music, fashion, and cinema—is celebrated globally. Britpop distinguishes itself by its rejection of dominant American trends, notably grunge, in favor of a reaffirmation of British cultural identity. It spotlights catchy melodies, lyrics often rooted in the day-to-day life of the British populace, and a nostalgic yet contemporary attitude. One of the most defining aspects of Britpop is the highly publicized rivalry between two of the movement’s biggest bands: Blur and Oasis. This conflict, often magnified by the media, polarizes fans and creates a competitive dynamic that fuels public interest in Britpop. Blur, often seen as more refined and artistic, stands in opposition to Oasis, who embody a more raw and direct approach. Britpop: Music and AestheticsThe sound of Britpop is heavily influenced by British bands of the 60s like The Beatles and The Kinks, as well as by the glam rock and punk of the 70s. The songs are characterized by a prominent use of electric guitars, catchy melodies, and sing-along choruses that contrast with the darker tones of American grunge. The arrangements are often simple yet effective, placing emphasis on vocals and lyrics. The lyrics of Britpop songs predominantly explore themes related to everyday life in Britain, frequently focusing on the experiences of the working class. The lyrics dig into topics such as human relationships, suburban life, boredom, aspirations, and even political satire. British identity is a recurring theme, celebrated with a blend of nostalgia and irony. The visual aesthetic of Britpop is marked by a retro influence, echoing the styles of the 60s. Album covers, music videos, and the artists’ fashion choices—such as mod suits or parkas—reinforce this distinctive visual identity. Britpop and Popular CultureBritpop’s influence extends beyond music to fashion, cinema, and even politics, leaving an indelible mark on 90s culture. Britpop has a significant impact on fashion, reviving classic British styles while adapting them to contemporary tastes. Inspired by 60s icons like The Beatles and the mods, Britpop artists reintroduce clothing such as parkas, Ben Sherman checked shirts and polos, Fred Perry polos frequently worn by Damon Albarn of Blur, Clarks Desert Boots, Adidas sneakers—particularly models like the Gazelle, often seen on Liam Gallagher—and tailored suits. This retro trend is fused with modern elements, creating a distinctive look that becomes synonymous with the movement. Britpop also leaves its mark on cinema, particularly in how British films of the 90s depict British culture and identity. The movement contributes to the popularity of films that capture the spirit of British youth, often with soundtracks and themes that resonate with Britpop values. Three major films stand out: “Trainspotting” (1996) directed by Danny Boyle, perhaps the most emblematic example; “The Full Monty” (1997) by Peter Cattaneo, deeply rooted in the social reality of 90s Britain; and “Lock, Stock and Two Smoking Barrels” (1998) by Guy Ritchie, whose success helps spark a renaissance in British cinema. |
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