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DISCID=3312ab14
DTITLE=Various Artists / The Brit Box - Disc 4 of 4
DYEAR=2007
DGENRE=Alternative
TTITLE0=Dodgy / In A Room
TTITLE1=Ash / Girl From Mars
TTITLE2=Sleeper / Sale Of The Century
TTITLE3=Marion / Sleep
TTITLE4=Kula Shaker / Tattva
TTITLE5=Ocean Colour Scene / The Riverboat Song
TTITLE6=Babybird / You're Gorgeous
TTITLE7=The Bluetones / Slight Return
TTITLE8=Super Furry Animals / Something 4 The Weekend
TTITLE9=The Divine Comedy / Something For The Weekend
TTITLE10=Cornershop / Brimful Of Asha
TTITLE11=Silver Fun / Service
TTITLE12=Spiritualized / Ladies And Gentlemen We Are Floating In Space
TTITLE13=Mansun / Wide Open Space
TTITLE14=Hurricane #1 / Step Into My World
TTITLE15=The Verve / Lucky Man
TTITLE16=Rialto / Untouchable
TTITLE17=Catatonia / Mulder And Scully
TTITLE18=Placebo / You Don't Care About Us
TTITLE19=Gay Dad / Oh Jim
EXTD=The Brit Box - Disc 4 of 4\n 2007 Rhino Entertainment Company\n\n
EXTD=Full Title: The Brit Box: U.K. Indie, Shoegaze, and Brit-Pop Gems
EXTD= of the Last Millennium\n\nOriginally Released November 20, 2007\n
EXTD=\nAMG EXPERT REVIEW:  Not all British pop is Britpop, nor is all 
EXTD=U.K. indie necessarily pop music -- nor does British indie of the
EXTD= '80s sound like British indie of the '90s, for that matter. Ther
EXTD=e are certain similarities and shared traits, along with a clear 
EXTD=progression from post-punk to Britpop, but the notoriously mercur
EXTD=ial British music world of the '80s and '90s had too many niches 
EXTD=and scenes -- and was documented by a music press obsessed with b
EXTD=estowing new names to even minor ripples in pop music -- to be ti
EXTD=dily boxed up, as Rhino's well-intentioned and hopelessly muddled
EXTD= four-disc set The Brit Box: U.K. Indie, Shoegaze, and Brit-Pop G
EXTD=ems of the Last Millennium attempts to do. That subtitle suggests
EXTD= that the box digs into the specific subgenres of British alterna
EXTD=tive rock, when it does nothing of the sort. Instead, it throws t
EXTD=ogether 78 tracks recorded by U.K. acts of the '80s and '90s, ass
EXTD=uming that if the artist resides in the United Kingdom and isn't 
EXTD=Bros, Take That, Wet Wet Wet, or the Spice Girls, they're fair ga
EXTD=me. Ground zero is the Smiths' 1984 anthem "How Soon Is Now?" -- 
EXTD=a widely acknowledged classic single that could very well be argu
EXTD=ed as the foundation of the classicist guitar pop that ran throug
EXTD=hout British '90s rock. Fair starting point, but instead of pursu
EXTD=ing a logical path through the next 15 years, The Brit Box careen
EXTD=s all over the place, following a well-worn path for a while befo
EXTD=re suddenly taking a detour -- sometimes picturesque, sometimes q
EXTD=uite rocky -- that leads back to familiar territory before it all
EXTD= stops suddenly, arbitrarily with Gay Dad's 1999 Britpop afterbir
EXTD=th, "Oh Jim." If that's what all this music was leading to, then 
EXTD=what was the point of it all?\n\nOf course, Gay Dad was hardly th
EXTD=e destination for Britpop, even if they almost certainly were the
EXTD= end of the line for British indie in more ways than one. The ver
EXTD=y fact that such an ambitious, far-reaching set like this ends on
EXTD= such a sour note highlights how unfocused The Brit Box is. Altho
EXTD=ugh it's assembled in chronological order, there is no narrative 
EXTD=thrust to the four discs, as certain threads are dropped entirely
EXTD= -- the dance-rock innovations of Primal Scream and Happy Mondays
EXTD= are forgotten by the time the set gets to the mid-'90s, even tho
EXTD=ugh electronica was so pervasive at this time, Noel Gallagher was
EXTD= singing with the Chemical Brothers, a cross-pollination this set
EXTD= never comes close to acknowledging -- while musical logic is sac
EXTD=rificed in favor of cutesy sequencing, with Gene's "Sleep Well To
EXTD=night" followed by Menswear's "Sleeping In," Cast's "Alright" pig
EXTD=gybacking Supergrass' "Alright," and Super Furry Animals' "Someth
EXTD=ing 4 the Weekend" leading to the Divine Comedy's "Something For 
EXTD=the Weekend." Such shenanigans are good for a chuckle when scanni
EXTD=ng a track listing, but they don't make for great listening, nor 
EXTD=does the odd mix of selections from the titans of Britpop, where 
EXTD=Blur is represented by the deep album track "Tracy Jacks" instead
EXTD= of the era-defining "Parklife" and "Girls & Boys" (or, if you wa
EXTD=nt to get obscure, either of the influential singles "Popscene" o
EXTD=r "For Tomorrow," for that matter) while their arch-rivals Oasis 
EXTD=get the too-familiar "Live Forever" when they would be better ser
EXTD=ved by something livelier and unexpected; and for as indelible as
EXTD= Suede's "Metal Mickey" is, "The Drowners" kick-started the Britp
EXTD=op phenomenon. This is a problem with second-tier bands as well -
EXTD=- Sleeper gets "Sale of the Century" instead of their fantastic o
EXTD=ne-shot "Inbetweener," Menswear's Elastica-aping "Daydreamer" is 
EXTD=their great moment in the sun (which points out that for as wonde
EXTD=rful as "Stutter" is, Elastica is indeed a band that could have a
EXTD=lso been represented by their biggest hit, "Connection") -- and t
EXTD=hese off-kilter selections don't quite balance out with the set's
EXTD= sharp inclusions, of which there are many, whether it's the obvi
EXTD=ous ("She Bangs the Drums," "Loaded," "There She Goes," "Here's W
EXTD=here the Story Ends," "Vapour Trail," "Only Shallow," "Common Peo
EXTD=ple") or cult favorites (Eugenius' "Breakfast," Babybird's "You'r
EXTD=e Gorgeous," Manson's "Wide Open Space").\n\nThen again, each Bri
EXTD=tish scene from the '80s and '90s was so full of great singles th
EXTD=at it'd be easy to pick songs at random and come up with somethin
EXTD=g that is reasonably enjoyable, which The Brit Box is. The proble
EXTD=m is, the box seems like it was assembled at random, as it has al
EXTD=l those odd song selections, omissions both major and minor -- ne
EXTD=ver mind that Radiohead is missing, where are the Auteurs, one-ti
EXTD=me rivals with Suede, where are one-hit wonders like Space's "Fem
EXTD=ale of the Species" or Shampoo's ridiculous "Trouble," where are 
EXTD=Orlando or any other Romo bands? -- and questionable inclusions (
EXTD=all these great bands were overlooked in favor of Superstar, Rial
EXTD=to, and Nick Heyward's lovely but tangential "Kite"?). Worst of a
EXTD=ll, it drifts from place to place, never making the connection be
EXTD=tween the C-86 aftershocks of the beginning of the set and the dr
EXTD=eam pop the pops up on the second disc, never setting up a contex
EXTD=t for how different the bright guitars of Britpop sounded in comp
EXTD=arison to those soft, swirling harmonies, or making a case for th
EXTD=e explosion of great pure pop tunes in the mid-'90s, for that mat
EXTD=ter. Instead, The Brit Box just throws a bunch of songs -- some g
EXTD=reat, some good, some notable only as a memory -- in a box, hopin
EXTD=g that it will pass as an introduction to kids who know the name 
EXTD=Misshapes as a club, not a song, or evoke some nostalgia, which i
EXTD=t does, but anybody who lived through a time when these songs wer
EXTD=e on college radio or 120 Minutes will only think, "I remember ho
EXTD=w it was back then and it wasn't like this."  -- Stephen Thomas E
EXTD=rlewine\n\nAmazon.com Editorial Review\nConsider this super-cool,
EXTD= long-overdue 4-CD set the less-commercial but no-less telling ri
EXTD=poste to the early 1960s British Invasion, when bands crossed the
EXTD= Atlantic to serve up what they'd learned, largely from under-her
EXTD=alded American artists (as in the Stones and Muddy Waters). Durin
EXTD=g the period that The Brit Box puts under the microscope, England
EXTD= went from Margaret Thatcher and John Major to Tony Blair, from y
EXTD=outh culture (and the press) zeroing in on football hooliganism t
EXTD=o the rise of Acid House and Brit pop. So it is that the addled g
EXTD=uitar haze of Spaceman 3's "Walkin' with Jesus" melds with the bo
EXTD=uncy, synth-softened euphoria of "She Bangs the Drums," and the c
EXTD=hirpy, jangly float of The Primitives' "Crash." These are moments
EXTD= in pop transition, as the peppy new wave of the 1980s meets up w
EXTD=ith the psychedelic, dope-colored moodiness of the '90s, and then
EXTD=, quickly, with the ascent of "Cool Brittania." As the Thatcher/M
EXTD=ajor era heads into the 1990s, Birdland--long forgotten--rips at 
EXTD=the jugular with the quick, garage rock-infused "Shoot You Down,"
EXTD= which, like so much here, keeps a finger keenly on a groove you 
EXTD=could either embrace while hallucinating or pogo-ing on the dance
EXTD= floor (or both). New Order, Pulp, Oasis, Blur, Elastica, and My 
EXTD=Bloody Valentine are all here, of course. They embrace the whole 
EXTD=continuum, from the trippy to the happy to the self-reflective, a
EXTD=nd they offer enough landmarks that Dodgy, and The Bluetones, and
EXTD= Silver Sun and These Animal Men all have space to drop in, addin
EXTD=g layers to this spectacular omnibus collection. --Andrew Bartlet
EXTD=t \n\n\nAMAZON.COM CUSTOMER REVIEW\nIncomplete survey, November 2
EXTD=0, 2007 \nBy  M. Williams (Traveller)\nTis a shame that a millenn
EXTD=ium-spanning music collection doesn't include such Britpop classi
EXTD=cs as "Sumer is icumen in" and "Greensleeves", to name but two. T
EXTD=rue indie songs, they avoided the major labels for most of that p
EXTD=eriod, and stayed high on the oral-trad charts. \n\n\nHalf.com N/
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