Decades tend to crest halfway through, and 1995 was the year of the
Nineties: peak Britpop (Oasis v Blur), peak YBA (Tracey Emin's
tent), peak New Lad (when Nick Hornby published High Fidelity, when
James Brown's Loaded detonated the publishing industry, and when
pubs were finally allowed to stay open on a Sunday). It was the
year of The Bends, the year Danny Boyle started filming
Trainspotting, the year Richey Edwards went missing, the year Alex
Garland wrote The Beach, the year Blair changed Clause IV after a
controversial vote at the Labour Conference. Not only was the
mid-Nineties perhaps the last time that rock stars, music
journalists and pop consumers held onto a belief in rock's mystical
power, it was a period of huge cultural upheaval - in art,
literature, publishing and drugs. And it was a period of almost
unparalleled hedonism, a time when many people thought they
deserved to live the rock and roll lifestyle, when a generation of
narcotic omnivores thought they could all be rock stars just by
buying a magazine and a copy of (What's the Story) Morning Glory?
Faster Than a Cannonball is a cultural swipe of the decade from
loungecore to the rise of New Labour, teasing all the relevant
artistic strands through interviews with all the major protagonists
and exhaustive re-evaluations of the important records of the year
- The Bends by Radiohead, Grand Prix by Teenage Fanclub, Maxinquaye
by Tricky, Different Class by Pulp, The Great Escape by Blur, It's
Great When You're Straight... Yeah! by Black Grape, Exit Planet
Dust by the Chemical Brothers, I Should Coco by Supergrass,
Elastica by Elastica, Pure Phase by Spiritualized, ...I Care
Because You Do by Aphex Twin and of course (What's the Story)
Morning Glory by Oasis, the most iconic album of the decade.
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