As the leader of the Jam, Paul Weller fronted the most popular British band of the punk era, influencing legions of English rockers that ranged from his mod revival contemporaries to the Smiths in the '80s and Oasis in the '90s. During the final days of the Jam, he developed a fascination with Motown and soul, which led him to form the... [+] Read More

As the leader of the Jam, Paul Weller fronted the most popular British band of the punk era, influencing legions of English rockers that ranged from his mod revival contemporaries to the Smiths in the '80s and Oasis in the '90s. During the final days of the Jam, he developed a fascination with Motown and soul, which led him to form the sophisti-pop group the Style Council in 1983. As the Style Council's career progressed, Weller's interest in soul developed into an infatuation with jazz-pop and house music, which eventually led to gradual erosion of his audience -- by 1990, he couldn't get a record contract in the U.K., where he had previously been worshipped as a demigod. As a solo artist, Weller returned to soul music as an inspiration, cutting it with the progressive, hippie tendencies of Traffic. Weller's solo records were more organic and rootsier than the Style Council's, which helped him regain his popularity within Britain. By the mid-'90s, he had released three successful albums that were both critically acclaimed and massively popular in England, where contemporary bands like Ocean Colour Scene were citing him as an influence. Just as importantly, many observers, while occasionally criticizing the trad rock nature of his music, acknowledged that Weller was one of the few rock veterans who had managed to stay vital within the second decade of his career.

Weller's climb back to the top of the charts was not easy. After Polydor rejected the Style Council's fifth, house-influenced album in 1989, Weller broke up the group and lost both his record contract and his publishing deal. Over the next two years, he was in seclusion as he revamped his music. In 1991, he formed the Paul Weller Movement and released "Into Tomorrow" on his own independent label, Freedom High Records. A soulful, gritty neo-psychedelic song that represented a clear break from the Style Council, "Into Tomorrow" reached the U.K. Top 40 that spring, and he supported the single with an international tour, where he worked out the material that comprised his eponymous 1992 solo debut. Recorded with producer Brendan Lynch, Paul Weller was a joyous, soulful return to form that was recorded with several members of the Young Disciples, former Blow Monkey Dr. Robert, and Weller's then-wife, Dee C. Lee. The album debuted at number eight on the U.K. charts, and was received with positive reviews.

Wild Wood, Weller's second solo album, confirmed that the success of his solo debut was no fluke. Recorded with Ocean Colour Scene guitarist Steve Cradock, Wild Wood was a more eclectic and ambitious effort than its predecessor, and it was greeted with enthusiastic reviews, and entered the charts at number two upon its fall 1993 release. The album would win the Ivor Novello Award for Outstanding Contemporary Song Collection the following year. Weller supported the album with an extensive tour that featured Cradock as the group's leader; the guitarist's exposure on Wild Wood helped him successfully relaunch Ocean Colour Scene in 1995. At the end of the tour, Weller released the live album Live Wood late in 1994. Preceded by "The Changingman," which became his 17th Top Ten hit, 1995's Stanley Road was his most successful album since the Jam, entering the charts at number one and eventually selling nearly a million copies in the U.K.

By this point, Weller decided to stop attempting to break the United States and canceled his North American tour. Of course, he was doing so well in the England he didn't need to set his sights outside of the U.K.. Stanley Road may have been greeted with mixed reviews, but Weller had been re-elevated to his status as an idol, with the press claiming that he was the father of the thriving Britpop movement, and artists like Noel Gallagher of Oasis singing his praises. In fact, while neither artist released a new album in 1996, Weller's and Gallagher's influence was felt throughout the British music scene, as roots-oriented, '60s bands like Ocean Colour Scene, Cast, and Kula Shaker became the most popular groups in the U.K.

Weller returned in the summer of 1997 with Heavy Soul. Modern Classics: Greatest Hits followed a year later. Heliocentric -- which at the time of its release he claimed was his final studio effort -- appeared in the spring of 2000. The live record Days of Speed followed in 2001, and he released his sixth studio album, Illumination, in 2002. The covers record Studio 150 appeared in 2004. As Is Now arrived in October of 2005 on Yep Roc. The live album Catch-Flame! followed in 2006. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Dodgy never was taken seriously. Then again, they never wanted to be taken seriously. As the clowns of Brit-pop, Dodgy carved out a niche with their infectious, goofy punk-pop that alternately sounded like the early Who and the Stone Roses. While they had a number of hit singles in the UK, highlighted by "Staying Out for the Summer," their... [+] Read More

Dodgy never was taken seriously. Then again, they never wanted to be taken seriously. As the clowns of Brit-pop, Dodgy carved out a niche with their infectious, goofy punk-pop that alternately sounded like the early Who and the Stone Roses. While they had a number of hit singles in the UK, highlighted by "Staying Out for the Summer," their quirky British humor prevented them from landing an American record deal for several years. Nevertheless, Dodgy was able to maintain a devoted cult following into the late '90s, as they kept turning out catchy, silly power-pop tunes.

An early version of Dodgy formed in the late '80s, when Nigel Clarke (vocals, bass) and Mathew Priest (drums) moved from their native Birmingham to London. As they began working odd jobs, they placed an advertisement for a guitarist, eventually recruiting Andy Miller. Over the next few years, Dodgy played frequently, including regular stints at the Dodgy Club, where they made their live debut. In 1991, they formed their own Bostin record label to release their own singles, including "Summer Fayre" and "Easy Way.". By the end of 1992, Dodgy had earned a sizable following, attracting the attention of major labels. They signed a contract with A&M later that year, releasing their debut, The Dodgy Album, in May 1993. The record was praised by the British music press, and Dodgy soon became regulars at the emerging Camden pop scene, which was headed by Blur.

Dodgy returned during the fall of 1994 with the single "Staying Out for the Summer," which became their first Top 40 hit. It set the stage for their breakthrough album, Homegrown, which was greeted with positive reviews upon its October release. Following a year of touring in 1995, the band returned in the summer of 1996 with Free Peace Sweet, which was their biggest hit to date, spawning the hits "In A Room," "Good Enough" and "If You're Thinking of Me," which peaked at number 11. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Along with Cast, Ocean Colour Scene, Kula Shaker, and Embrace, Travis was one of the most prominent British trad rock bands in the mid- to late- '90s. Following Oasis' lead of crafting down-to-earth, heartfelt songs in the vein of classic British bands from the '60s, Travis was more successful and enduring than some of their peers due to their... [+] Read More

Along with Cast, Ocean Colour Scene, Kula Shaker, and Embrace, Travis was one of the most prominent British trad rock bands in the mid- to late- '90s. Following Oasis' lead of crafting down-to-earth, heartfelt songs in the vein of classic British bands from the '60s, Travis was more successful and enduring than some of their peers due to their lively, impassioned songwriting and performances. The group formed in Glasgow around 1990 as something of a lark for its members, singer/songwriter Francis Healy, guitarist Andy Dunlop, drummer Neil Primrose, and bassist Dougie Payne. After finishing their studies at art school a few years later, the foursome became more serious about Travis' potential and moved to London in 1996. Their self-released debut EP, All I Wanna Do Is Rock, came out in the fall of that year; with its earnest vocals and soaring guitars, it captured the spirit of British rock at the time, which was retreating from some of Brit-pop's artiness to a back-to-basics sound. Their second single, 1997's "U16 Girls," was released by Independiente Records, the new label headed by former Go! Discs' director Andy MacDonald; a few months later, their critically acclaimed full-length debut Good Feeling arrived. Recorded in a matter of days with top producer Steve Lillywhite, the album included hit singles like "Happy" and "Tied to the '90s" and immediately entered the Top Ten of the U.K. charts. The following year, Travis began sessions with star producer Nigel Godrich for the follow-up to Good Feeling, recording in six studios in as many months. Though it was a slower, darker affair, when The Man Who appeared in 1999, it eclipsed Travis' previous successes, going platinum six times in the U.K. and spawning more hit singles such as "Why Does It Always Rain on Me?" and "Writing to Reach You." Nominated Select Magazine's Album of the Year (and finishing in the Top Ten of many other publication's year-end lists), The Man Who appeared on U.S. shores in early 2000, just in time for a tour with their musical big brothers, Oasis. Debuting at the number one spot on the U.K. album chart, The Invisible Band was issued in June 2001 just prior to stateside summer gigs with Dido. Two years later, the band issued 12 Memories. ~ Heather Phares, All Music Guide [-] Hide

The British band Gomez is a five-piece, consisting of Ben Ottewell (vocals, guitar), Tom Gray (vocals, guitar, keyboards), Paul Blackburn (bass, guitar), Olly Peacock (drums), and Ian Ball (vocals, guitar, harmonica). Whereas the majority of up-and-coming British bands are either retro-pop (à la Oasis), trip-hop (Portishead), or space rock (the... [+] Read More

The British band Gomez is a five-piece, consisting of Ben Ottewell (vocals, guitar), Tom Gray (vocals, guitar, keyboards), Paul Blackburn (bass, guitar), Olly Peacock (drums), and Ian Ball (vocals, guitar, harmonica). Whereas the majority of up-and-coming British bands are either retro-pop (à la Oasis), trip-hop (Portishead), or space rock (the Verve, Radiohead), Gomez is one of the few to contain bluesy elements in their rock. Their debut for Virgin Records, Bring It On, was praised in the rock press on both sides of the Atlantic. They also received the distinguished Mercury Music Prize for 1998 Album of the Year in England, where they edged out such stiff competition as Massive Attack's Mezzanine and the Verve's Urban Hymns. They completed their inaugural U.S. tour opening for Eagle-Eye Cherry in October 1998, while the press still offered praise -- Spin magazine called Bring It On "a damn beautiful album," giving it an eight out of ten rating. Liquid Skin followed in 1999 and the rarities and B-sides compilation Abandoned Shopping Trolley Hotline was issued a year later. A third studio album, In Our Gun, appeared in spring 2002. Another hiatus saw Ian Ball relocating to Los Angeles, while still working with the band at their new studio in Portslade, England. The dozens of tracks recorded during this time were whittled down and fashioned into Split the Difference, released in May of 2004. By that time, Hut, their original label had gone under, leaving them signed to Virgin (Hut's distributor). Despite all the critical acclaim, sales were never up to what Virgin was expecting from Gomez, and the two sides parted ways later that year. In 2005, they signed with ATO Records and released Out West, Gomez's first live album, in June of that year. How We Operate arrived in May 2006. ~ Greg Prato, All Music Guide [-] Hide

Emerging at the height of Brit-pop, Reef had little in common with their British peers -- instead of sounding like an amaglam of the Beatles, the Jam and Stone Roses, they were indebted to the Stones and the Black Crowes -- but through constant touring, as well as being featured in a television commercial for Sony's Minidisc player, they managed... [+] Read More

Emerging at the height of Brit-pop, Reef had little in common with their British peers -- instead of sounding like an amaglam of the Beatles, the Jam and Stone Roses, they were indebted to the Stones and the Black Crowes -- but through constant touring, as well as being featured in a television commercial for Sony's Minidisc player, they managed to cultivate a large fan-base which expanded significantly with the release of their second album, Glow.

Comprised of Gary Stringer (vocals), Kenwyn House (guitar), Jack Bessant (bass) and Dominic Greensmith (drums), Reef formed in Street, England, a small town out side of Glastonbury. Forming under the name Big Talk, Stringer and Bessant were the core members of the group and House rejected their initial overture to join the band. Big Talk relocated to Cornwall, where they merged with the Glastonbury-based No Smoke, who were looking for a new singer, since their previous vocalist had left to become a Hare Krishna. The new band became Chief. After a few months, Chief broke up; its drummer, Paul Winterhart, would later join Kula Shaker. Stringer and Bessant split temporarily as they travelled the world to find themselves. Bessant returned to England, where he began studying music at the West London Institute, where he met House and Greensmith. Shortly afterward, Stringer returned to London, and all four musicians formed Naked. The band recorded a handful of demos in the fall of 1993, sending the results, entitled "The Purple Tape," to S2, a subsidiary of Sony Records. S2 signed the group but asked them to change their name; the group settled on Reef. The label had Reef begin touring the UK, and after a few months, the group graduated to headlining appearences, eventually opening for Paul Weller at the Royal Albert Hall in 1994.

In March of 1995, the group released their debut single, "Good Feeling," which climbed into the Top 20. A few months later, Reef contributed "Naked" for a television commercial for the Sony Mini-Disc player. The commercial substantially increased the size of Reef's audience, and shortly afterward, "Naked" reached number 11. Both singles were from their 1995 debut, Replenish, which climbed into the UK Top 10 and received good reviews from British metal publications. Following performances at summer festivals, the band released the non-LP "Weird," which became their third Top 20 hit. On the strength of constant touring, including opening slots for the Rolling Stones and Soundgarden, Replenish reached the UK Top 10 in early 1996.

Reef returned with the new single "Place Your Hands" in the fall of 1996. Unexpectedly, "Place Your Hands" became a huge hit, rocketing into the Top 10 hit and laid the groundwork for their second album Glow. The album entered the charts at number one upon its January 1997 release, going gold in its first week. "Come Back Brighter," which was released two weeks before the LP, and "Consideration" both followed the album into the Top 10. Glow was released in the US in the spring. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Ocean Colour Scene reinvented themselves as trad rock journeymen with their second album, Moseley Shoals, a record indebted to late-'60s blues-rock, mod pop, psychedelia, and prog rock. Surprisingly, the album became a blockbuster in the U.K., so it isn't entirely surprising that its successor, Marchin' Already, is essentially Moseley Shoals,... [+] Read More

Ocean Colour Scene reinvented themselves as trad rock journeymen with their second album, Moseley Shoals, a record indebted to late-'60s blues-rock, mod pop, psychedelia, and prog rock. Surprisingly, the album became a blockbuster in the U.K., so it isn't entirely surprising that its successor, Marchin' Already, is essentially Moseley Shoals, Pt. 2 with a bigger budget. Despite a few production flourishes -- heavily panned, distorted psychedelic guitars, trombone solos, and two P.P. Arnold backing vocals -- Ocean Colour Scene doesn't sound at all different on Marchin' Already, and their songwriting shows no noticeable improvement. But the album isn't a retreat; it's a continuation of everything that made Moseley Shoals such an entertaining record, and it's nearly as good as its predecessor. Marchin' Already is equally balanced between soulful stompers ("Travellers Tune"), rockers ("Hundred Mile High City"), and prog-inflected ballads ("Better Day," "Besides Yourself"), all delivered with almost too much passion. But the key to Ocean Colour Scene is that they are fervently committed to trad rock, which means they pour themselves into predictable songs that turn out to be quite satisfying, even if they are guilty pleasures. And if that's the case, Marchin' Already is a great guilty pleasure. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Paul Weller
Artist: Paul Weller
Released: 1992

Humiliated by Polydor's rejection of the final Style Council album (it remained unreleased until the 1998 box set), Paul Weller retreated from the spotlight, licked his wounds, and redefined his music. He re-emerged with the Paul Weller Movement and the surging trad rock single "Into Tomorrow," a song that may not have been a big hit, but it... [+] Read More

Humiliated by Polydor's rejection of the final Style Council album (it remained unreleased until the 1998 box set), Paul Weller retreated from the spotlight, licked his wounds, and redefined his music. He re-emerged with the Paul Weller Movement and the surging trad rock single "Into Tomorrow," a song that may not have been a big hit, but it signaled that he had begun a productive new phase. That same criticism applies to his 1992 solo debut (by this point, he had dropped "Movement," and decided to just be "Weller"). Heavily inspired by soul and classic rock (more early Humble Pie than Led Zeppelin, of course), it's a solid effort whose best songs -- the opening triptych "Uh Huh Oh Yeh," "I Didn't Mean to Hurt You," and "Bull-Rush," plus "Into Tomorrow" -- demonstrate the virtues of nostalgia, particularly when it's tempered with fine songwriting. If he drifts a bit toward the end, and winds up with some lightweight songs, it's still gritty and effective, displaying a focus absent in the Style Council's last few albums. It's not a full-fledged comeback (that would arrive next), but it's a fine start all the same. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Hurricane #1 - WARNER
Artist: Hurricane #1
Released: 1997

Instead of pursuing Ride's shimmering waves of guitar distortion, Andy Bell decided to go Britpop with Hurricane #1. In other words, Hurricane #1's eponymous debut sounds a bit like Oasis, only with a fondness for Madchester rhythms, trancy interludes and extended jams. When the group does pull it all together, they can sound monstrous -- "Let... [+] Read More

Instead of pursuing Ride's shimmering waves of guitar distortion, Andy Bell decided to go Britpop with Hurricane #1. In other words, Hurricane #1's eponymous debut sounds a bit like Oasis, only with a fondness for Madchester rhythms, trancy interludes and extended jams. When the group does pull it all together, they can sound monstrous -- "Let Go of the Dream" and "Stand in Line" have powerful psychedelic overtones, and the jangly "Strange Meeting" is charming. However, too much of Hurricane #1 finds the group struggling with Noelrock, and while it's clear that the band simply doesn't have the brash hooks or intoxicating arrogance of the Gallaghers, they keep fighting ahead. Only when the group opens up toward the end, letting their own blend of trad-rock and psychedelic space-rock come forward, do Hurricane #1 sound like a storm. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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Bring It On
Artist: Gomez
Released: 1998

On their debut album, Bring It On, England's Gomez introduce their original take on bluesy roots rock. Unlike Jon Spencer Blues Explosion, this isn't amphetamine-fueled freak-out music but similar at times to Beck's acoustic-based work (One Foot in the Grave), with more going on vocally. The band has a total of three strong vocalists, who can... [+] Read More

On their debut album, Bring It On, England's Gomez introduce their original take on bluesy roots rock. Unlike Jon Spencer Blues Explosion, this isn't amphetamine-fueled freak-out music but similar at times to Beck's acoustic-based work (One Foot in the Grave), with more going on vocally. The band has a total of three strong vocalists, who can switch from pretty harmonies to gutsy blues outpourings in the blink of an eye. The band manages to cover a lot of ground convincingly on Bring It On, which is unusual, since it commonly takes bands the course of a few releases to hone their sound. The three British singles released from the album are definite highlights -- "Get Myself Arrested," "Whippin' Piccadilly," and "78 Stone Wobble," the latter containing a beautifully haunting acoustic guitar riff similar to Nirvana's unplugged version of the Meat Puppets' "Plateau." All the praise that Gomez's debut received is definitely not hype. The album is consistently great, as proven by such tracks as "Tijuana Lady," "Love Is Better Than a Warm Trombone," and "Get Myself Arrested." ~ Greg Prato, All Music Guide [-] Hide

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Good Feeling
Artist: Travis
Released: 1997

Like most post-Oasis bands, Travis are determined to be a classic band, which means they are decidedly classicist in their approach. Travis have the traditional Britpop influences -- Beatles, Kinks, Small Faces, etc. -- which are filtered through such '90s peers as the Stone Roses, Manic Street Preachers, and, of course, Oasis. Fortunately, they... [+] Read More

Like most post-Oasis bands, Travis are determined to be a classic band, which means they are decidedly classicist in their approach. Travis have the traditional Britpop influences -- Beatles, Kinks, Small Faces, etc. -- which are filtered through such '90s peers as the Stone Roses, Manic Street Preachers, and, of course, Oasis. Fortunately, they aren't tied to the '60s, like Cast or Ocean Colour Scene; they try to revitalize the traditions with harder backbeats and louder guitars, and Fran Healy's voice often strains at the edge of screaming. That approach can keep their conventional aspects entertaining, but what makes Good Feeling a successful debut is that Healy can write hooks, whether it's the anthemic "All I Want to Do Is Rock" or the stompy "U16 Girls." There are several slow spots on Good Feeling that illustrate how the group's sound has its limits, but it's a promising debut that establishes Travis as one of the better British trad rock groups. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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