Birmingemning mashhur musiqasi - Popular music of Birmingham
Birmingem madaniyati mashhur musiqa birinchi bo'lib 1950 yillarning o'rtalarida ishlab chiqilgan.[1] 1960-yillarning boshlarida shahar musiqa sahnasi mamlakatdagi eng katta va eng jo'shqin sahnaga aylandi; "musiqa faoliyatining tikuvchisi",[2] 500 dan ortiq guruhlar doimiy ravishda a'zolarni almashadilar va yaxshi rivojlangan joylar va promouterlar tarmog'ida doimiy ravishda chiqish qiladilar.[3] 1963 yilga kelib shahar musiqasi allaqachon o'ziga xos xususiyatga ega bo'lganligi uchun tan olingan: musiqachilarning biron bir uslubga mos kelmasliklari yoki janr.[4] Birmingemning yuqori darajadagi hamkorlik madaniyatini individualizm va eksperimentizmni ochiq qabul qilish bilan birlashtirish an'anasi XVIII asrga kelib,[5] va musiqiy jihatdan bu o'zini shaharda tez-tez bog'lanib turadigan musiqachilar guruhlari tomonidan ishlab chiqarilgan turli xil musiqalarda ifoda etdi: "keng tarqalgan eklektizm" dan Brum urdi davr,[6] shahar "shafqatsiz bo'laklarga" post-pank sahna,[7] o'ziga xos va radikalning "hayratlanarli doirasiga" elektron musiqa 1980-yillardan 21-asrning boshlariga qadar shaharda ishlab chiqarilgan.[8]
Ushbu xilma-xillik va eksperiment madaniyati Birmingemni yangi musiqiy uslublarning serhosil vataniga aylantirdi, ularning aksariyati global ta'sirga ega bo'ldi. 1960 yillar davomida Spenser Devis guruhi folklor, jazz, blyuz va qalbning ta'sirini birlashtirdi va butunlay yangisini yaratdi ritm va blyuz tovush[9] "Amerikaning janubidan chiqadigan har qanday jozibali hardcore jonli musiqa bilan turdi",[10] esa Ko'chirish ingliz tilining o'ziga xos ovozi uchun yo'l ochdi psixodeliya "pop-updagi hamma narsani bitta ultra eklektik sonik aralashtirgichga qo'yish" orqali.[11] Og'ir metall 1970-yillarning boshlarida musiqiy pop ta'sirini birlashtirib, shaharda tug'ilgan "Liverpul", baland ovozli gitara asosida ko'k London ovozi va Birmingemnikiga xos kompozitsiya texnikasi jazz an'ana.[12] Bangra dan paydo bo'lgan Balsall Xit 1960 va 1970 yillarda G'arb musiqiy ta'sirini qo'shgan holda maydon an'anaviy Panjob musiqasi.[13] The ska tiklanish G'arbiy Midlenddan noyob ko'p millatli musiqiy madaniyatdan o'sgan.[14] Grindcore yilda tug'ilgan Sparkbruk ning alohida ta'sirini birlashtirishdan haddan tashqari metall va hardcore pank.[15] Techno "s Birmingem ovozi ning belgilangan tovushini birlashtirdi Detroyt techno Birmingemning o'ziga xos ta'siri bilan sanoat musiqasi va post-pank madaniyat.[16]
Erta rok-roll
Qiziqish rok-roll kabi Amerika yozuvlaridan keyin 1950-yillarning o'rtalarida Birmingemda ishlab chiqilgan Bill Xeyli va uning kometalari '1954 yakkalik "Shake, Rattle and Roll "va"Soat atrofida tosh "; va Elvis Presli 1956 yildagi singllar "It it "va"Moviy süet poyabzal "Britaniya efirlarida paydo bo'la boshladi.[1]
Birmingem musiqasining keyingi rivojlanishida ta'sirchan bo'lgan ko'plab ijrochilar ushbu davrda paydo bo'lishdi. Denni King amerikalikni qabul qilayotgan edi ko'k va jon 1952 yildan beri Qo'shma Shtatlardan pochta orqali yuborilgan yozuvlar va ko'p o'tmay kabi rassomlarning qo'shiqlari muqovalarini ijro etishni boshladi Katta Jou Tyorner The Gunmakers kabi pablarda Zargarlik buyumlari kvartali.[17] 1957 yilda u tashkil topdi Danny King va Dyuklar bilan Klint Uorvik, ijro etish ritm va blyuz mahalliy klublar va kinoteatrlardagi muqovalar.[18] Tex Detheridge va Gators ijro qila boshladi Xank Uilyams shanba kuni kechqurun yopiladi Suv parisi yilda Sparkhill yakshanba kunlari esa Bilberry choyxonalarida Rednal 1956 yil boshida.[19] Ning paydo bo'lishi skiffle mashhur hodisa sifatida 1956 yilda Birmingem guruhlarining yangi to'lqini tug'ildi. Vikinglar skiffle guruhi sifatida boshlandi Nechells 1957 yil bahorida,[20] bilan Pat Ueyn va Deltalar skiffle guruhi sifatida paydo bo'ldi Ladywood bir vaqtning o'zida,[21] 1957 yil yozini zavqli qayiqlarda sayr qilish bilan o'tkazish Severn daryosi yilda Vester.[22]
Brum Beat
1960 yillarga kelib Birmingem sahnasi bilan taqqoslanadigan mashhur musiqa sahnasining uyiga aylandi "Liverpul": hech kim katta guruh ishlab chiqarmasligiga qaramay Bitlz Shahar "musiqa faoliyatining tikuvchisi" bo'lgan, a'zolari, nomlari va musiqiy faoliyati doimiy ravishda o'zgarib turadigan bir necha yuz guruhlar bo'lgan.[2] The Yangi musiqiy ekspress 1964 yilda shahar ichida 500 dan ortiq guruh faoliyat yuritganligini hisoblab chiqdi.[3] Birmingem "Liverpul" ga qaraganda kattaroq va xilma-xil shahar edi, ammo u hech qachon "Liverpul" tomonidan boshqariladigan ta'sirga ega bo'lmagan. Brayan Epshteyn; Natijada Birmingem guruhlari hech qachon "Liverpul" bilan taqqoslanadigan bir hil tovushga mos kelmagan Mersisbeat.[23] Buning o'rniga shahar musiqasi "keng tarqalgan eklektizm" bilan ajralib turardi,[6] uning uslubi an'anaviydan tortib ko'k, rok-roll va ritm va blyuz orqali xalq, folk rok, psixodeliya va jon,[23] uning ta'siri bilan 1970-yillarga va undan keyin ham tarqaldi.[2]
1963 va 1964 yillarda Birmingemda mavjud bo'lgan asosan er osti musiqa sahnasi milliy va xalqaro miqyosda e'tiborni jalb qila boshladi. Birmingem guruhi tomonidan savdoga chiqarilgan birinchi singl "Sugar Baby" by Jimmi Pauell va o'lchovlar, 1962 yil 23 martda Decca tomonidan chiqarilgan.[3] Top 10 hitiga ega bo'lgan Birmingemda joylashgan birinchi guruh Applejacks, kim imzolagan Decca 1963 yil oxirida va "Tell Me when" debyut singlisi 7-raqamga yetdi Buyuk Britaniyaning yakkaliklar jadvali 1964 yil fevralda.[24] Rokkin mevalari 1964 yil sentyabr oyida "Men sizni xafa qilmoqchi emas edim" filmi bilan Top 50-ga kirdi va oktyabr oyida "He in Town" bilan ikkala qo'shiqni ham o'ziga xos falsetto vokaliga ega bo'ldi. Geoff Turton.[25] Baxtlar ularning 1964 yildagi "Kerolin" yozuvi uning tomonidan qo'shiq sifatida qabul qilingan qaroqchi radiostansiyasi Radio Karolin,[26] va undan keyin 1965 yilda uchta yirik xalqaro xitlar bilan "-Siz muammolarni boshdan kechirdingiz ", Buyuk Britaniyada ham, AQShda ham eng yaxshi 10 ta hit"Bu erda yana keladi "va" Bu oltin uzuk ".[27] Xunuklar 1965 yilda "Wake Up My Mind" nomli avstraliyalik xitga erishdi.[3] Ivy League tomonidan tashkil etilgan Kichik Xit - tug'ilgan qo'shiq yozish bo'yicha hamkorlik Jon Karter va Ken Lyuis,[25] 1965 yilda Buyuk Britaniyada uchta xit bor edi: "Qanday qilib sevgining bo'lishi mumkin kulgili", "Shuning uchun yig'layman" va "Uloqtirish va burilish".[28]
1964 yil boshida Dial Records va Decca ikkalasi ham chiqdi kompilyatsiya albomlari Birmingem musiqiy sahnasining kengligini namoyish etadi.[3] Decca to'plamining yengil eslatmalarida Birmingemning o'ziga xos musiqiy xilma-xilligi allaqachon oydinlashayotgani ta'kidlangan: "Ammo Brum ovozi bormi? Ushbu albom shubhasiz javob yo'qligini isbotlaydi. Sababi: shaharning barcha guruhlari, shu jumladan tinglovchilar bu LP, individuallik darajasiga erishishga intilmoqda. "[29]
Ushbu davrning eng muvaffaqiyatli Birmingem guruhi bo'ldi Spenser Devis guruhi Bu o'z a'zolarining folklor, blyuz, jazz va qalbdagi turli xil tushunchalarini butunlay yangi birlashtirgan ritm va blyuz tovush[9] bu "Amerikaning janubidan chiqadigan har qanday jozibali hardcore jonli musiqa bilan turar edi".[10] "Hayratlanarli darajada ruhiy" tomonidan boshqariladi[10] yoshlarning vokallari Stiv Uinvud, o'zining shaxsiy klaviatura uslubi bilan birga,[30] akasining bass-bass rifflari Muff Uinvud, jazz ta'sirida barabanchilik Pit York va keyinchalik noyob fuzz gitara effekti Spenser Devis,[31] guruh R&B qopqoqlarini o'ynashni boshladi, ammo eng katta yutuqlarga o'zlarining kompozitsiyalari bilan erishdilar.[30] Kris Blekvell ning Island Records 1964 yil aprel oyida Xill ko'chasidagi Golden Eagle pub-da ularni eshitgandan so'ng guruhni shu erda imzoladi,[32] va 1964 yil oxiri va 1965 yil boshlarida to'rtta kichik xitlardan so'ng ular 1965 yil oxiridagi singl bilan chiqishdi "Yugurishda davom eting "The Beatles" ni 1966 yil yanvar oyida Buyuk Britaniyada birinchi raqamli pozitsiyadan chiqarib yubordi.[33] 1966 yil noyabr oyida o'zlarining kompozitsiyalari chiqarilishidan oldin yana ikkita Angliya xit singlisi juda muvaffaqiyatli ikkita albom bilan birga "Gimme Some Loving "- bu guruhning shoh asarlari va 1960-yillarning ajoyib yozuvlaridan biri.[9] Bu va uning 1967 yilgi Winvud tomonidan yozilgan ta'qib qilish "Men erkakman "Atlantika okeanining har ikki tomonida eng yaxshi 10 ta hit bo'lgan[9] milliondan ortiq nusxada sotish va Amerikadagi ulkan muxlislar bazasini mavjud Evropadagi mashhurligiga qo'shish.[33]
Moody Blues ular, avvalambor, 1964 yil may oyida boshqa Birmingem guruhlari musiqachilari bilan tashkil topgan R&B guruhi bo'lgan El Riot & isyonchilar, Denni va diplomatlar, Danny King va Dyuklar va Gerri Leven va Qasoskorlar.[34] Noyabr oyiga qadar ular o'zlarining millionlab sotiladigan singllari bilan xalqaro miqyosdagi muhim hitni qo'lga kiritishdi "Hozir boring "Buyuk Britaniyada 1-raqamga, AQShda 10-raqamga erishgan va" jonli, azoblangan "vokal ijrosi etakchi qo'shiqchiga aylangan Denni Leyn ingliz musiqasida eng taniqli ovozlardan biri sifatida.[35] Garchi ushbu bosqichda hali Ar-ge an'analari doirasida bo'lsa-da, dastlabki Moody Blues musiqasi allaqachon Layn va juda o'ziga xos musiqiy kompozitsiyalari bilan keyingi faoliyatini tavsiflaydigan ko'proq eksperimental yondashuv belgilarini ko'rsatdi. Mayk Pinder; kabi guruhlar ishlatadigan narsalarga qaraganda ancha keng bo'lgan to'rt qismli uyg'unliklar Bitlz, Rolling Stones, Xollis yoki Deyv Klark beshta vaqtida; va pianino qismlarining zenga o'xshash takrorlanishi va ritmik murakkabligi ularning kelajagini belgilaydi ruhiy jihatdan uslubi.[36]
Televizion dastur Baxtli Yulduzlaringizga Rahmat, tomonidan tarqatilgan ABC Television uning studiyalaridan Aston 1961 yildan 1966 yilgacha ushbu davrdagi ingliz pop musiqasi uchun muhim vitrin edi.[37] ning televizion debyutini o'tkazish Bitlz 1963 yil 13-yanvarda.[38] Ko'rgazma o'n olti yoshli singari mamlakat miqyosidagi ongga kirib kelgan "Oi beraman!" Degan iborasi bilan mashhur bo'lgan. "Vest Bromvich" - tug'ilgan Janice Nicholls bir haftalik singllarga o'z hukmini chiqardi Spin-a-disk uning kengligida Qora mamlakat urg'u.[39]
Xalq tiklanishi
Xalq musiqa bilimdonlari tomonidan olib borilgan tadqiqotlar boy an'analarni qayd etdi xalq qo'shiqlari dan G'arbiy Midlend 1960 yillarning oxirlarida,[6] shu jumladan mahalliy aholi tomonidan ijro etilayotgan qo'shiqlar an'anaviy qo'shiqchilar kabi Sesiliya Kostello va Jorj Dann butunlay ichida og'zaki an'ana va o'tgan 70 yil ichida boshqa folklor musiqasi kollektsiyalari tomonidan hujjatlashtirilgan qo'shiqlar.[40] Ular orasida ijtimoiy norozilik qo'shiqlari va shahar va uning atrofidagi joylarga ishora qiluvchi kundalik hayot qo'shiqlari,[6] va ushbu hududning tub mahalliy urf-odatlari, uning sanoat madaniyati va boshqa joylardan musiqiy an'analarni olib keladigan va o'zlashtiradigan kirib kelganlar ketma-ket to'lqinlarining ta'sirini aks ettirdi.[40]
Yan Kempbell, Birmingemga ko'chib o'tgan Aberdin o'spirin sifatida, eng muhim raqamlaridan biri edi Britaniya xalq tiklanishi 1960-yillarning boshlarida.[6] 1950 yillar davomida u ta'siriga tushib qoldi Marksistik Birmingem yozuvchisi Jorj Tomson va 1956 yilda Yan Kempbell folklor guruhi, dastlab a skiffle guruh, ammo 1958 yildan boshlab siyosiy ayblovlarni ijro etmoqda xalq qo'shiqlari shu jumladan Fenian va Yakobit qo'shiqlari va qo'shiqlari konchilar, sanoat ishchilari va qishloq xo'jaligi ishchilari.[41] Guruhning 1962 yildagi rekordi Ceilidh tojda birinchi jonli efir edi folklor klubi yozuvlar chiqarilib, 1965 yilda ular Qo'shma Shtatlar tashqarisida birinchi bo'lib a Bob Dilan qo'shiq, qachon ularning qopqog'i "The Times ular a-changin ' "Buyuk Britaniyaning eng yaxshi 50 taligiga kirdi.[42] Kempbell ham yugurdi Jug o 'Punch Xalq qo'shiqlari klubi, dastlab Stonstrit ko'chasidagi tojda, keyinchalik Digbeth Fuqarolik Zali payshanba kechalari.[43] Bu, shubhasiz, eng muhimi edi folklor klubi 1960-yillarda Buyuk Britaniyada,[44] va, albatta, eng kattasi, haftasiga 500 kishini muntazam ravishda qamrab oladigan auditoriyani jalb qiladi.[45] 1960-yillarning o'rtalarida Birmingemning boshqa taniqli folklor klublari tarkibida Eagle Folk Club ham bor edi Oltin burgut Xill ko'chasida va Livri ko'chasidagi qadimgi nufuzli narsalar ustidagi Skillet Pot klubida.[44]
Yan Kempbell Folk guruhining Birmingemdagi ikkita musiqachisi rivojlanishning asosiy ishtirokchilariga aylanadi folk rok keyingi o'n yil ichida ular guruhga qo'shilishlari orqali Fairport konvensiyasi Londonda 1967 yilda tashkil topgan.[6] Fiddler Deyv Swarbrick 1969 yilda guruhga qo'shildi, an'anaviy musiqani bilishi quyidagi albomga eng katta ta'sirga aylandi Liege & Lief,[46] odatda Fairport Convention-ning guruh sifatida va umuman folk-rok janridagi eng muhim albomi deb hisoblangan.[47] Swarbrickning Yan Kempbell Folk guruhidagi sobiq hamkasbi Deyv Pegg keyinchalik 1969 yilda bas-pleyer sifatida qatnashdi va 1972 yilga kelib ikki Birmingem musiqachisi guruhning qolgan yagona a'zolari bo'lib, keyingi tezkor kadrlar almashinuvi davomida guruhni ushlab turdilar.[48]
Qo'shiq muallifi Joan Armatrading xalq musiqasi sohasida muhim tijorat yutuqlariga erishgan birinchi ingliz ayol edi[49] va birinchi Qora inglizlar har qanday musiqiy janrda xalqaro muvaffaqiyatga erishish uchun ayol.[50] Karib dengizi orolida tug'ilgan Sent-Kits, u 7 yoshidan Brukfild hududida tarbiyalangan Xendvort.[51] 1972 yilda u o'zining birinchi albomini chiqardi Biz uchun nima bo'lsa ham va uning sakkiztasini birinchi yozib oldi Peel sessiyalari,[52] ammo uning Britaniyadagi tijorat yutug'i 1976 yil edi Joan Armatrading, eng yaxshi 20 ga kirgan va eng yaxshi 10 ta hit "Sevgi va muhabbat ".
Birmingem mintaqasidagi barcha folklor musiqachilari orasida eng uzoq muddatli ta'sirga ega bo'lgan musiqachi bo'ladi Nik Dreyk, 1952 yildan boshlab tarbiyalangan shahar atrofidagi qishloq ning Tanvort-in-Arden - shahar chegaralaridan besh mil narida Warwickshire - raisning o'g'li va boshqaruvchi direktor Volsli muhandisligi Birmingemdagi kompaniya Adderley Park.[53] Dreyk o'z ta'limini a o'quv kolleji Birmingemnikida Besh yo'l, qaerdan u ingliz adabiyotini o'rganish uchun stipendiya yutdi Kembrij.[54] Musiqiy bolaligini boshlagan, qo'shiq yozgan va pianinoda ijro etgan onasi bilan,[55] Kembrijda Dreyk o'zini o'zi yozgan va ijro etgan.[56] 1968 yilda u tomonidan kashf etilgan Djo Boyd u bilan menejeri, agenti, noshiri va prodyuseri sifatida shartnoma imzolagan va keyinchalik "uning iste'dodining ravshanligi va kuchi hayratlanarli edi ... uning gitara texnikasi shu qadar toza ediki, uning qanchalik murakkabligini anglash uchun bir oz vaqt ketgan edi. Ta'siri Bu erda va u erda aniqlangan, ammo musiqa yuragi sirli ravishda o'ziga xos edi ".[57] Keyingi ikki yil ichida Dreyk ikkita albomini yozdi va chiqardi - Beshta barg va Bryter Layter - xalq an'analari kabi jazga juda ko'p qarzdor bo'lgan kam, ammo uyg'unlashgan murakkab qo'shiqlar,[58] Lekin u yomon sotildi, qisman uning o'tkir uyatchanligi va jonli ijroda ijro etishni istamasligi tufayli.[59] Drake bir davrga o'tdi ichki nuqson va depressiya, Tanvortdagi ota-onasining uyiga qaytib, u erda u o'zining xiralashgan yakuniy albomini yozishi kerak edi Pushti oy.[60] 1974 yil 25-noyabrda u Tanvortdagi uyqusida haddan tashqari dozadan vafot etdi antidepressantlar, faqat ommaviy axborot vositalarida shaxsiy e'lon bo'lgan yoritish Birmingem Post uch kundan keyin.[61]
O'limida deyarli noma'lum bo'lgan Dreyk o'sha paytdan beri rassomning o'limidan keyin shon-sharaf va ta'sirga erishganligining eng buyuk namunalaridan biriga aylandi.[58] Jurnalist Yan MacDonald "Saksoninchi yillarda men musiqa sahnasidan uzoqlashdim. Qaytib kelganimda Nik Dreykning mashhur bo'lib ketayotganini ko'rib hayron qoldim. Ularning aksariyati singari (buni amalga oshiring) barchasi uni) har qanday shaklda taniganlardan), men uni shaxsiy narsa deb bilishga odatlangan edim, rassom eksklyuziv periferiyaga tushib ketdi, biluvchilar uchun. "[62] 1980-yillarga kelib Dreykning ishi diniy auditoriyaga ega bo'lib, 1990-yillarda o'sib bordi va 2000-yillarga kelib keng shuhrat qozondi.[63] Dan kengayadigan ta'sir bilan muqobil tosh ga bepul jazz,[58] kabi raqamlarni ham o'z ichiga oladi R.E.M., Radiohead, Devid Grey va Bet Orton, aktyorlar Bred Pitt va Xit Ledjer va kinorejissyor Sem Mendes,[64] uning ishi endi ikkalasining ham eng katta yutuqlaridan biri sifatida hurmatga sazovor Britaniya xalq musiqasi va butun dunyo bo'ylab qo'shiqchi va qo'shiq mualliflari janri.[59]
Psixeliya va progressiv tosh
1960-yillarning oxirlarida Birmingem musiqa madaniyatining haddan tashqari eklektikasi har birida yangi va o'ziga xos estrada sonoritlarini rivojlantiradigan bir nechta juda o'ziga xos guruhlarning paydo bo'lishini ko'rdi, ular orasida ko'plab arxetiplarni o'rnatdilar. psixedliyalar va progressiv tosh bu keyin bo'ladi.[6] Ulardan birinchisi edi Ko'chirish 1965 yil dekabr oyida Birmingemning bir nechta mavjud musiqiy guruhlari tomonidan tashkil etilgan Mayk Sheridan va Nightriders, Karl Ueyn va Vikinglar va Mayfair to'plami; dastlab Amerikaning G'arbiy qirg'og'idagi aktlarning muqovalarini ijro etish Birdlar yonma-yon Motown va erta rok-n-roll klassiklar.[65] Gitarachi Roy Vud tez orada asl materialni yozishni boshlashga ko'ndirildi va uning ekssentrik, ohangdor ixtirochi qo'shiq yozuvchisi va qorong'u, kinoyali hazil tuyg'usi[66] ularning birinchi beshta singllari Buyuk Britaniyaning Top 5-ga kirganini ko'rdilar.[67] Ularning ovozi bilan "hozirgi kunga qadar hamma narsani pop-eklektik sonik aralashtirgichga joylashtirish",[68] "Ko'chirish" juda katta uslublarda ijro etildi, blyuz, 1950-yillarning rok-n-rollari va mamlakat va g'arbiy[65] qattiq qirrali ritmik ruhning ayniqsa kuchli ta'siri bilan,[69] va ba'zi bir materiallari keyinchalik aniqlanadigan tovushga yaqinlashganda og'ir metall.[70] Ularning 1966 yildagi "Men o'tning o'sishini eshitaman "tomonidan deyarli bir vaqtning o'zida chiqarilgan nashrlar bilan bir qatorda, kreditlar berilgan Bitlz va Pushti Floyd, ingliz tilini xarakterlaydigan bolalarcha pastoral ko'rishni o'rnatish bilan psixodeliya, Vudning qo'shiqlari aslida emas edi LSD - ta'sirlangan, ammo maktabda o'qigan paytida yozgan "kattalar uchun ertaklar" to'plamiga asoslanib,[71] va "aqldan ozish yoki shunchaki biroz xushomadgo'ylik haqida qo'shiqlar" sifatida mo'ljallangan edi.[72] Harakat juda ziddiyatli jonli harakatlari, televizorlarni sindirishlari va sahnada otashinlarni uyushtirishlari va bosh vazirning umr bo'yi epchilligi aks etgan davr bilan mashhur edi. Garold Uilson namoyishi davomida parchalanib ketgan.[73]
1966 yilda Kreyg g'azab bilan baquvvat bo'lgan "Men aqldan ozishim kerak" chiqdi injiqlik ning nafisligini namoyish etgan ta'sirchan singl Xendvort - tug'ilgan Karl Palmer oldindan aytib bo'lmaydigan va burchakli davul.[74] O'shandan beri ushbu yozuv Britaniyalik psixedeliyaning eng qadimgi namunalaridan biri sifatida tan olingan va ovoz bergan Kuzatuvchi faqat keyin Pushti Floyd "Arnold Layne "1960-yillarning eng yaxshi psixodel singli sifatida.[75] Kreyg o'sha yil oxirida tarqalib ketdi, ammo Palmer guruhlar a'zosi sifatida butun dunyo bo'ylab progressiv rok davrining etakchi davulchisi bo'lishi kerak edi. Artur Braunning aqldan ozgan dunyosi, Atom xo'rozi va super guruhlar Emerson, Leyk va Palmer va Osiyo; kabi san'atkorlarning ananaviy rock davullaridan butunlay ustun bo'lgan tezlik, epchillik va murakkablikning davul uslubini rivojlantirish. Keyt Oy, Jon Bonxem yoki Charli Uotts.[76] Keyinchalik, "freakbeat" deb nomlangan uslubda ijro etilgan Bo'sh poyga, 1960-yillarning eng muhim Birmingem guruhi qoldiqlaridan hosil bo'lgan muhim tijorat muvaffaqiyatlariga erishmaslik Nightriders 1966 yilda, ketganidan keyin Roy Vud va Mayk Sheridan ularning o'rnini 19 yoshli yigit egallashiga olib keldi Jeff Leyn.[2] 1967 yilga kelib Leyn guruhning etakchisi bo'lib, uning ovozi va yo'nalishini shakllantirdi va asl materialini yozdi.[77] Ularning 1968 yil debyut albomi Tug'ilgan kun partiyasi kabi musiqiy arboblardan tanqidiy tavsiyalar oldi Bitlz, Mark Bolan, Kenni Everett va Jon Peel, ammo kichik tijorat muvaffaqiyati, ommaviy mashhurlikka erishish uchun juda ambitsiyadir.[2] 1969 yilgi kuzatuv yanada qulayroq bo'lganda Bo'sh poyga Linning qo'shilish uchun qoldirgan jadvallariga ham etib bo'lmadi Ko'chirish.[78]
Yo'l harakati musiqiy to'qima va qatlamlarni o'zlarining ko'p instrumental tarkiblari va jazz, folklor va hind taassurotlari bilan birlashtirganliklari bilan tanishtirdilar va xalqaro miqyosda yetmishinchi yillarning boshidagi eng muvaffaqiyatli guruhlardan biriga aylandilar.[79] Guruh tashkil etilgan Tirsak xonasi yilda Aston 1967 yil aprelda qachon Stiv Uinvud chiqishga qaror qildi Spenser Devis guruhi muvaffaqiyatining eng yuqori chog'ida gitara chaluvchisi bilan birlashib, yanada sarguzasht musiqiy yo'nalishlarni tanlash Deyv Meyson va barabanchi Jim Kapaldi dan Ellionlar flautist va saksafonchi Kris Vud dan Lokomotiv.[80] Ularning dastlabki ikkita singlisi "Qog'oz Quyosh "va"Mening poyabzalimdagi teshik "guruhlarning instrumental mahoratini ta'kidlab, Buyuk Britaniyaning Top-5-ga kirdi.[81]
1960-yillarning oxirida, masalan, psixodel rok guruhlari mavjud edi Velvett Fogg diniy inglizlar psixedel toshi guruh. Toni Iommi 1968 yil o'rtalarida a'zo bo'lgan, ammo tez orada shakllanish uchun ketgan Qora shanba. Ularning yagona nomlangan albomi 1969 yil yanvar oyida chiqdi va CD-da qayta nashr etildi Sanctuary Records 2002 yilda. Shuningdek Baxdenkel, JSSV Rolling Stone "Britaniyaning eng buyuk noma'lum guruhi" deb nomlangan.
1970-yillarda The Move va Uglys a'zolari Elektr nurlari orkestri va Sehrgar.
Birmingemda joylashgan magnitafon ishlab chiqaruvchi Bradmatic Ltd kompaniyasi ishlab chiqarishda va ishlab chiqarishda yordam berdi Mellotron. Keyingi 15 yil ichida Mellotron katta ta'sir ko'rsatdi tosh musiqa va bu progressiv rok guruhlarining savdo belgisidir. Mayk Pinder ning Moody Blues ushbu kompaniyada ishlagan va bu uning ushbu asbobni juda odatiy ovozini chiqarib, guruhga kiritganligining sabablaridan biridir.
Erta og'ir metall
1960-yillarning oxiri va 70-yillarning boshlarida Birmingem tug'ilgan joy og'ir metall musiqa,[82][83][84] kimning xalqaro muvaffaqiyati musiqiy janr keyingi o'n yilliklar davomida faqat raqib bo'lgan Hip Hop uning global izdoshlari hajmida,[85][86] va Birmingemdan kelib chiqadigan ko'plab belgilarga ega.[87] Shaharning Angliya markazida joylashganligi uning musiqiy sahnasiga Londonda ham ta'sir qilganligini anglatardi Britaniya blyuzi Uyg'onish va musiqiy pop qo'shiqlari ning "Liverpul" Ikkala konvensiya doirasidan tashqariga chiqib, Londonda yuqori hajmli gitara ustunlik qilgan uslubga "Liverpul" ning uyg'un ixtirochilik uslubini qo'llashga imkon beradi.[88] Birmingem mahalliy jazz an'ana og'ir metallarning xarakterli ishlatilishiga ta'sir qilish edi modal kompozitsiya,[89] va qorong'u ma'noda kinoya shahar madaniyatiga xos xususiyat janrga ta'sir ko'rsatishi edi b-film dahshatli film lirik uslub va uning o'ziga xosligi begona pozitsiya[90] 1960 va 70-yillarda Birmingem jamiyatining sanoat asoslari ham muhim edi: dastlabki og'ir metallarning rassomlari sanoat hayotining mexanik monotonligini, urushdan keyingi shahar muhitining xiralashganligini va fabrika mashinalarining pulsatsiyalanuvchi ovozini ular yaratgan tovushga ta'sir sifatida tasvirlab berishdi. ,[91] va Qora shanba bo'shashgan torlardan foydalanish pastga sozlangan gitara va kuch akkordlari qisman bosh gitara chaluvchisidan kelib chiqqan Toni Iommi a bilan sodir bo'lgan baxtsiz hodisada o'ng qo'lidagi ikki barmog'ining uchlari yo'qolishi metall lavha chiqib ketish mashinasi.[92] Musiqa uslubi avvalgi mahalliy guruhlar orasida ham o'ziga xos xususiyatlarga ega edi: tajovuzkor ijro etish uslublari vahshiy va vayronkor sahna namoyishlari uchun xarakterli edi. Ko'chirish,[93] va Tovuq kulbasi yuqori hajmdan kashshof foydalanish Marshall staklari baland ovozda va tajovuzkor chegaralarini oshirgan edi ko'k yangi chegaralarga.[94]
Tanqidchilar qaysi guruhni birinchi haqiqiy og'ir metallar guruhi deb hisoblash mumkinligi borasida bir fikrga kelmaydilar, amerikalik sharhlovchilar esa buni ma'qullashadi Led Zeppelin va ingliz sharhlovchilari ma'qullashmoqda Qora shanba.[95] Led Zeppelin 1968 yilda tashkil topgan va ulardan biri Londonda joylashgan ikkita musiqachidan iborat edi Yardbirdlar va ikkitasi Birmingemda joylashgan Quvonch guruhi, ikki shaharning musiqiy ta'sirining aniq kombinatsiyasini belgilaydi.[96] Yardbirds blyuzning instrumental to'qimalarini kengaytirilgan usul bilan kengaytirdi siqilish sessiyalar,[97] ammo bu Midlandda joylashgan musiqachilar - barabanchi ta'siri edi Jon Bonxem va vokalist Robert zavodi - bu Led Zeppelinning yanada qiyin tomonini va diqqat markazini ta'minlab, yanada eklektik diapazonga ega bo'ladi.[98] U blyuz va rok-rollarda konvensiyalarga asoslangan bo'lib, Led Zeppelinning musiqasi bularni juda baland ovoz bilan va juda tajribali melodik va ritmik yondoshuv bilan uyg'unlashtirdi, juda qattiq va og'irroq ovozni yaratdi.[99] Led Zeppelinning chiqishidagi intensivlik va nafislikning bu kombinatsiyasi 1970-yillarda asosiy va muqobil rok-musiqani yangitdan o'zgartirdi,[100] ayniqsa Qo'shma Shtatlarda, ular musiqa tarixidagi to'rtinchi eng ko'p sotilgan aktyor bo'lib qolmoqdalar.[101]
O'rnatilgan musiqiy anjumanlardan chiqib ketishda yanada radikalroq edi Qora shanba,[102] uning kelib chiqishi 1960-yillarning Birmingem musiqiy sahnasida blyuz va rok-rol o'ynaydigan guruhdan iborat edi.[103] 1969 yildan boshlab ular rok-roll musiqasining an'anaviy tuzilmalaridan butunlay foydalanib, uzoqlashdilar modali dan ko'ra uch akkord blyuz shakllari va ko'p qismli dizaynga asoslangan, hal qilinmagan musiqiy kodlarning mutlaqo yangi to'plamini yaratish tritonlar va Aeolian rifflari.[104] Ularning 1970 yilgi albomi Qora shanba birinchi navbatda burchak shaklini ko'rdim rifflar, kuch akkordlari, pastga sozlangan gitara va og'ir metallarga xos bo'lgan juda katta hajm.[105] Paranoid, ularning ikkinchi albomi ushbu modelni takomillashtirilgan va yo'naltirilgan bo'lib, bu jarayonda "og'ir metallarning ovozi va uslubini rok tarixidagi boshqa albomlarga qaraganda ko'proq aniqladi".[106] Paranoid Black Sabbath-ning tijorat yutug'i sifatida Buyuk Britaniyaning albom jadvallarida 1-o'rinni va AQShda 8-o'rinni egalladi.[107] "Qora shanba" ning ta'siri og'ir metallarda va uning ko'plab subgenralarida universaldir,[108] ammo ularning musiqiy ahamiyati metaldan tashqarida ham bor: ularning gitara asosidagi musiqani tubdan begonalashtirishi mumkinligini kashf qilish to'g'ridan-to'g'ri musiqa ovoziga olib keladi. Jinsiy avtomatlar va tug'ilish pank;[109] va ularning ta'siri post-pank singari xilma-xil guruhlar tomonidan seziladi Quvonch bo'limi, avangard Sonic Youth,[110] The Sietl asoslangan grunge guruhlar Nirvana, Mudoni, Soundgarden va Zanjirdagi Elis,[111] Kaliforniyalik tosh,[112] va hatto rap Muz-T,[109] Sarv tepaligi[113] va Eminem.[114]
Xalqaro hodisa sifatida og'ir metalning paydo bo'lishi uchun ham hal qiluvchi ahamiyatga ega edi Yahudo ruhoniysi,[115] 1970-yillarning oxirida metall janrining dastlabki tovushlaridan tashqariga chiqib, Qora Shabbat kunining mahkum bo'lgan gotik tuyg'usini Led Zeppelinning tezkor va rifga asoslangan ovozi bilan birlashtirib, o'zlarining o'ziga xos ikkita gitara qirrasini qo'shdi.[116] Ularning 1978 yilgi albomi Bo'yalgan sinf uchun sonik shablonni o'rnatdi ingliz og'ir metallarining yangi to'lqini bu oxirgi izlarni olib tashlab, blues rock metall tovushdan va uni yangi kuch, tezkorlik, xushomadgo'ylik va musiqiy darajalarga olib chiqish.[117] 1979 yilga kelib va ozod qilindi Qotillik mashinasi va jonli albom Sharqda ochilgan ular butun janrni samarali ravishda aniqladilar,[118] va 1980 yilgi albomi bilan British Steel ular yangi ovozni qat'iy ravishda tijorat oqimiga olib kelishdi.[86] Yahudo ruhoniy boshqa guruhlarga qaraganda og'ir metallarni epitomizatsiya qilish uchun kelgan,[119] homoseksual qo'shiqchi tomonidan qabul qilingan mototsikllar, charm, tirnoqlar va boshoqlarning fetishistik ko'rinishi bilan Rob Xelford og'ir metalning vizual uslubini aniqlash uchun keladi.[120] Ular o'rtasidagi muhim aloqani tashkil qilishi kerak edi an'anaviy og'ir metall 1970 yillari va turli janrlari haddan tashqari metall Buning ortidan ularning ovozi asos yaratadi tez metall, o'lim metall, trash metall va qora metall 1980-yillarning.[86][116]
Ska va reggae
Urushdan keyingi Birmingemning jadal rivojlanib borayotgan iqtisodiyoti uni hal qilish uchun London bilan birga asosiy maydonga aylantirdi G'arbiy Hindiston 1948 yildan va 1950 yillar davomida immigrantlar.[121] Qora musiqa va qora tanli tomoshabinlar ko'pincha asosiy klublardan chetlashtiriladi Birmingem shahar markazi[122] 1960 va 1970 yillarda G'arbiy Hindistonning o'ziga xos madaniyati ko'rildi blues partiyalari kabi Birmingem tumanlarida paydo bo'ladi Xendvort va Balsall Xit[123] qishloqning tun bo'yi kommunal "choy partiyalari" ning shahar ekvivalenti sifatida Yamayka.[124] Ko'klar partiyalari, odatda, bo'sh xususiy uylarda o'tkaziladigan litsenziyasiz yig'ilishlar bo'lib, mehmonlar eshik oldida pul to'laydilar va elektr ko'pincha tashqi ko'cha yoritilishidan ulanardi.[125] Dastlabki Birmingem blyuzi o'ynagan kalipso va ritm va blyuz, lekin 1960-yillarning boshlarida ko'tarilish kuzatildi ska va 1960-yillarning oxiridan boshlab sahnada hukmronlik qilingan dub.[126] Musiqa mobil telefon orqali ta'minlanadi ovoz tizimlari, kim kuchliligi orqali o'z raqiblaridan ajralib turishga harakat qilar edi bosh ularning uskunalari tomonidan ishlab chiqarilgan;[123] va DJlar tomonidan tushdi eng yangi va noaniq dublyajlar,[122] ko'pincha yozuvlarining manbasini yashirish uchun juda ko'p harakatlarga borishadi.[123]
Blyuz partiyalari uchun reklama asosan og'zaki yoki pirat radiostansiyalar orqali qilingan va odatda manzillar yoki joylarning aniq tafsilotlarini o'z ichiga olmagan, shuning uchun ovozli tizimlar sodiq, ammo juda mahalliylashtirilgan kuzatuvlarni jalb qilgan.[127] Ovozlar ko'pincha qo'shni hududlarda "o'ynaydi" yoki raqobatdosh boshqa ovoz tizimlariga qarshilik ko'rsatishi mumkin ovoz to'qnashuvi, eng taniqli kiyimlarning keng e'tiborni jalb qilishiga imkon berish - 1970 va 1980 yillarda taniqli Handsworth tovushlari Londongacha uzoq mehmonlarni jalb qilar edi, "Manchester" va Bristol.[128] Nufuzi shahar tashqarisida bo'lgan mashhur Birmingem ovoz tizimlari Quaker Siti 1965 yilda tashkil etilgan;[129] Dyuk qotishmasi, 1966 yilda tashkil etilgan va tushdi mashinasini namoyish etgan Astro keyinchalik uning tarkibiga kirgan UB40;[130] va Vassifa, qaysi xususiyatli Makka B, 1980-yillarning eng nufuzli ingliz tosteri.[131] Regga guruhining asoschilari Tutilish, blyuz partiyasida uchrashgan, keyinchalik "Ko'klar hamma joyda bo'lar edi. Siz faqat Lozellsga yoki Soho Rd-dan pastga chiqishingiz kerak edi, yuklar bor edi, siz turib uylardan chiqayotgan musiqani tinglashingiz mumkin edi. , pablar va klublar. "[123]
1960-70-yillarda G'arbiy Midlend madaniyati rivojlandi Qora inglizlar noyob musiqa,[132] Londonda bo'lgani kabi, oq musiqa sahnasidan ancha kamroq ajralib qolgan. Oq va qora tanli musiqachilarni muntazam ravishda ko'rish mumkin edi siqilish kabi tumanlardagi pablarda birgalikda Xendvort va Balsall Xit va madaniy sharhlovchi sifatida Dik Hebdige Birmingem "Buyuk Britaniyada qolgan oq tanli odamning ko'k libos kiymasdan va eshikni tepmasdan shebinga kirishi mumkin bo'lgan oz sonli joylardan biri" edi.[132] Natijada ular o'rtasida erkin ta'sir va qo'llab-quvvatlash almashinuvi bo'ldi ovoz tizimlari shaharning Yamayka ta'sirida bo'lgan musiqa madaniyati va barcha irq va janrlardagi mahalliy guruhlar,[133] shahar o'rtasida ayniqsa yaqin aloqalar rivojlanib bormoqda reggae va pank sahnalar.[134] Musiqachilarning asosiy birlashmasi paydo bo'ldi, ular turli xil musiqiy ta'sirlarni umumiy maqsadga sodiqlik bilan birlashtirdilar.[135] Birmingem guruhlari Yamayka musiqasining ta'sirini 1968 yildayoq namoyish etishar edi Lokomotiv voyaga etmagan Buyuk Britaniya "Rudi's in Love" ska singli bilan urishgan,[136] va 1969 yilga kelib, Birmingem Siti Markazi klublarida ska kechalari erta qiziqish uyg'otdi skinxedlar tonik kostyumlarida kiyingan va loaferlar,[137]
Birmingemda uyda etishtirilgan birinchi yirik regga guruhi edi Chelik zarbasi,[138] kim tashkil topgan Handsworth Wood 1975 yilda[139] o'ynagan musiqachilar guruhidan dublyaj plitalari 15 va 16 yoshdan boshlab.[140] Ham tanqidiy, ham tijorat yutuqlari bo'yicha Britaniyaning eng katta regga guruhlaridan biri,[141] va Yamaykaning o'zida regga ta'sir ko'rsatadigan orol tashqarisidagi juda oz sonli guruhlardan biri,[142] Steel Pulse, shuningdek, 1970-yillarning Britaniyadagi regga guruhlarining eng jangari jangari bo'lgan[143] murosasiz siyosiy shafqatsizlik uchun obro'ga ega.[141] Dastlabki yillarda ularning musiqasi alohida ajralib turardi jazz va Lotin ta'sirlar, ammo 1980-yillarda ular sintezatorlar va teginishlarni olib kelishdi Ar-ge, keyinchalik uning o'sishini aks ettiruvchi yanada tubanroq ovozga qaytdi raqs zali va Hip Hop.[141] Ularning 1978 yil debyut albomi Handsworth inqilobi siyosiy majburiyatlari bilan tengdoshlaridan ajralib turardi[144] va hanuzgacha ingliz reggilarining muhim relizlaridan biri hisoblanadi.[141]
Reggae subgenri sevishganlar rok, 1970 va 1980 yillarda blyuz partiyalarida tez-tez eshitilishi mumkin edi. Hissiy Sevishganlar rok "Erkaklar ham yig'laydi" qo'shig'i Beshara, hali ham subgenre doirasidagi eng katta va eng mashhur qo'shiqlardan biri hisoblanadi. Keyinchalik, Musiqiy yoshlar, UB40 (birinchi chindan ham aralash poyga Buyuk Britaniya dub guruh), va Pato Banton tijorat muvaffaqiyatlarini topdi. AllMusic tasvirlangan UB40 Angliya va Yamayka ta'sirini "inqilobiy, har ikkala orolda hech narsadan farqli o'laroq ularning ovozi" deb birlashtirgan reggae-ning o'ziga xos g'ayrioddiyligi.[145]
1970-yillarning oxirlarida pank-rok ta'siri ostida tasodifan ko'p millatli ska madaniyati izchil harakatga aylandi 2 tonna unda siyosiy ayblangan lirikalar, ko'p irqli guruhlar va Yamaykalik musiqiy ta'sirlar namoyish etilgan ska, ko'k urish, reggae shimoliy jon va oq inglizcha musiqa zali.[14] Ushbu rivojlanishning boshida turganlar Maxsus narsalar yaqin atrofda tashkil topgan va asoslangan Koventri, lekin 1978 yilda Birmingem musiqiy sahnasida taniqli bo'lgan, Hill ko'chasidagi Golden Eagle pub-da har hafta istiqomat qiluvchi va Birmingemda o'ynagan pank-aktlarga tashrif buyurish uchun yordam sifatida o'ynagan.[146] Maxsus mahsulotlar birinchi navbatda turgandan keyin ko'proq e'tiborni tortdi To'qnashuv da Barbarella Cumberland ko'chasida,[146] va 1979 yilda o'zlarini tashkil etdi 2 tonna yozuvlari birinchi singlini yozish uchun yorliq "Gangsterlar "bu tezda er osti hitiga aylandi[147] va ketma-ket ettita ketma-ket ettita hitni 1981 yilda yakuniga etkazgan "Sade Town ".[148] Qo'rqinchli yig'layotgan shovqinlar, pichoq bilan urilgan jezlar, qiyomatga to'lib toshgan O'rta Sharq musiqiy motiflari va dublyaj uslubidagi tanaffuslar reggae ritmida urilgan "Ghost Town" shafqatsiz va britaniyalik popning keyinchalik paydo bo'lishiga olib keladigan an'ana an'analarini tug'dirdi. ko'tarilishi sayohat hop va dubstep.[149] Qo'shiq so'zlari hali ham muhimroq edi: bir kun oldin "Ghost Town" Buyuk Britaniyaning ichki shaharlari qatoriga kirgan tartibsizliklarda otilib chiqdi,[150] va Buyuk Britaniyaning shaharlarining qulashi haqidagi umidsizlikka tushgan portreti davrni ramziy ma'noga ega bo'lib, uning nigilistik yo'nalishi "bundan buyon davom eta olmaydi ... odamlar g'azablanmoqda" retrospektiv ravishda bashoratli bo'lib tuyuladi.[151]
Ularning ta'sirida yanada eklektik Xendvort edi Beat 1978 yilda pankning "yuqori energiyasini" "suyuqlik harakati" bilan aralashtirish niyatida tashkil topgan dub, lekin kimning ovozi ham ta'sirini o'z ichiga olgan jazz, G'arbiy Afrika va Afro-kubalik musiqa, shuningdek, rok, ska va reggae,[152] parchalanish va paranoyalar muhitini yaratish, uni yanada yaqinlashtirgan post-pank.[153] Maxsuslar singari, The Beat a'zolari turli xil kelib chiqishi bor edi: Deyv Vakeling, Devid Stil va Endi Koks dastlab pank-band tashkil qilgan edi; Sent-Kits - tug'ilgan barabanchi Everett Morton reggae bilan shug'ullangan va barabanga chalingan Joan Armatrading,[154] vokalchi Rojer reytingi Birmingem pank-guruhi bilan ham davul o'ynagan tushdi Birmingem ovoz tizimlari orqali.[153] Saksofonist Saks singari birinchi to'lqinli ska rassomlari bilan o'ynagan 60 yoshli yamaykalik edi Shahzoda Buster va Desmond Dekker[154] va Handsworth pabida jazz ijro etayotgani aniqlangandan keyin guruhga kimlar jalb qilingan.[153]
Pank-rok
Birmingem eng qadimgi pank-rok guruhlari 1976 yil oxirida paydo bo'lishidan oldin Jinsiy avtomatlar va asosiy oqim Britaniya pank, o'rniga to'g'ridan-to'g'ri ta'sirlangan proto-pank inglizlar glam-rok, Amerikalik garaj toshi va nemis krautrock.[155] Eng qadimgi Shishgan xaritalar, 1972 yilda birodarlar tomonidan tashkil etilgan Epik musiqiy qo'shiqlar va Nikki To'satdan, ilhomlangan T. Reks, Stoglar va Mumkin.[156] Guruh soatlab uy yozuvlarini tayyorladi rulonli lentalar 70-yillarning boshlari va o'rtalarida[157] To'satdan keyin u 1976 yil aprelida "Jinsiy qurol" ni birinchi marta ko'rganida "mening munosabatim shuki, ular biz nima qilayotgan bo'lsa, xuddi shunday yangradi", deb esladi.[158] Swell Maps "pank-ning qoidalarini" o'zingiz bajaring, toshni yo'q qilish va'dalarini "so'zma-so'z qabul qildi" va "so'nggi o'n yilliklarning eng qiyin, begona, o'ziga xos va chindan ham isyonkor musiqalarini yaratishga kirishdi".[159] Garchi hech qachon kult muvaffaqiyatidan boshqa narsa bo'lmasa-da, ular keyingi avlodning paydo bo'lishida katta ta'sir ko'rsatishi kerak edi muqobil tosh, bilan Kichik dinozavr, REM va Yo'l barchasi guruhni ta'sir sifatida keltirib, va Sonic Youth "s Thurston Mur "Shishgan xaritalar mening tarbiyam bilan juda bog'liq edi" deb yozish.[155]
Misspent Youth (guruh) ta'sirida 1975 yilda tashkil topgan Nyu-York qo'g'irchoqlari va Stoglar ammo katta qarzdor bo'lib qolmoqda glam-rok.[160] Ular pank bilan juda ozgina bog'langan bo'lishlariga qaramay, ular Birmingemning davrning eng yaxshi jonli guruhi hisoblanar edi[161] afsonaviy epidemiya mavzusiga aylanib, kuchli mahalliy izdoshlarini qurdi grafiti butun shahar va uning atrofidagi hududlarda[162] va juma kuni kechqurun shaharning etakchi pank-joyida doimiy ravishda sotish Barbarella 1978 yil oxiriga kelib.[163] 1979 yilda bitta chiqishiga va paydo bo'lishiga qaramay BBC televideniesi 1980 yilda ular shahar tashqarisida ozgina e'tiborni jalb qildilar va bir yil o'tib ajralishdi,[163] ammo plam davri orqali glam ta'sirini o'tkazishda ular ta'sir o'tkazar edi Martin Degvil, Bola Jorj, Duran Duran va Birmingemning tug'ilishi Yangi romantik sahna.[164]
Midlandsning eng muhim dastlabki panklari edi Prefektlar, DJ tomonidan ko'rib chiqilgan Jon Peel ikkalasidan ham yaxshiroq bo'lish To'qnashuv yoki Jinsiy avtomatlar.[165] Guruhning dastlabki kelib chiqishi shu erda bo'lgan Xednesford bir guruh musiqachilar, shu jumladan shaharning shimolida Robert Lloyd, P. J. Royston, Grem Blunt va Djo Krou ta'sirida 1975 yilda tashkil topgan Nyu-York qo'g'irchoqlari va Neu!, dastlab o'zlarini Angliya cherkovi, keyinroq Gestapo va nihoyat Royston - Prefektlar taklifi bilan chaqirishdi.[166] Lloyd uchrashdi Harborne birodarlar Apperley Patti Smit 1976 yil oktyabr oyida Birmingemda bo'lib o'tgan kontsert, keyinchalik ularning guruhiga qo'shilib, ismini va oldingi guruhining bir nechta a'zolarini o'zi bilan birga olib keldi.[167] 1976 yilda yangi guruhning birinchi ommaviy konserti "Birmingemning shithole" deb nomlangan birinchi qo'shig'ini ijro etganda shov-shuv bilan yakunlandi.[168] ammo 1977 yil may oyiga kelib ular The Clash's-ni ochishdi "Oq g'alayon "Londonning Rainbow teatrida gastrol safari,[165] perfecting a "shambling, improvisational" repertoire that included the 10-second "I've got VD", a highly original interpretation of "bogemacha Rapsodiya ", and their most well-regarded track, the 10-minute "The Bristol Road leads to Dachau",[165] an early example of the art-pank that would later emerge in the 1980s.[169] The Prefects had no interest in making records, their sole recorded output being a single released after they had split up, and two Peel sessiyalari eventually released in 2004 as the compilation album Prefektlar - bu havaskorlar.[170] Distancing themselves form the wider punk movement – claiming "Bands like The Fall and Subway Sect are all dead serious ... and we're a laugh"[171] – their "incredibly prescient and self-effacing sense of humor" saw them "satirize the commodification of punk with clarity, precision, and humor long before anyone else had even realized the limitations of the so-called movement."[172] Describing the "legendary Birmingham group" the journalist Jon Savage later wrote "The Prefects were always one of the most hermetic and confrontational groups. They spared no one, least of all the public."[173]
The release of the Sex Pistols' first single "Buyuk Britaniyadagi anarxiya " in October 1976 led to a wave of punk bands in Birmingham as in the rest of the country. Ayblanuvchi released a single EP in 1979,[174] their self-deprecating style illustrated by their two most popular songs: the self-explanatory "We're Crap", and "W.M.P.T.E." – a tribute to the G'arbiy Midlend yo'lovchi transporti bo'yicha ijro etuvchi.[175] Sharh The Sussed in 1978 called them "a shambles", concluding "every town should have one band like The Sussed. Any town with two is in dead trouble"[176] Dansette Damage were best known for their classic debut single, the "double b side" "N.M.E."/"The Only Sound", that became a favourite of Jon Peel va uning prodyuseri Jon Uolters and was later learned to have been produced by Robert zavodi.[177] The all-male Xavfli qizlar started in 1978 with a post-punk sound influenced by Public Image Ltd, perversely moving in an increasingly punk direction for their series of singles,[178] that were re-released on three compilation albums in 2001 and 2002.[179] Of wider long term significance were Qotillik, who were led by future Dexys Midnight Runners ashulachi Kevin Roulend and grew out of an earlier band called Lucy and the Lovers in 1976.[180] The success of their wild and snarling first single "Johnny won't go to Heaven" in 1977 saw the NME declare Rowland to be Johnny Rotton 's successor as the voice of punk protest, but Rowland was already expressing dissatisfaction with punk's uniformity, complaining that "The original idea of punk was to be different and say what you wanted ... not just to copy everybody else".[181] By 1978, in an early sign of the uncompromising eccentricity of Rowland's later career, the Killjoys were inspiring the hatred of punk audiences by performing Bobbi Darin panellari va mamlakat va g'arbiy musiqa at punk venues like London's 100 ta klub.[182]
Birmingemniki GBH zaryadlandi were, alongside Stok-on-Trent "s Chiqish va Edinburg "s Ekspluatatsiya qilingan, one of the three dominant bands of the second wave of British punk,[183] which emerged at the start of the 1980s and "took it from the art schools and into the council estates", reacting against the perceived commercialisation of earlier punk to produce music that was "brutal, fast and very aggressive".[184] G. B. H.'s influence helped codify the raw sound that would become known as ko'cha pank,[185] becoming a prime influence on the mid-1980s emergence of the trash metall guruhlar Metallika va Qotil.[186]
Post-pank
During the late 1970s and early 1980s Birmingham was the home of a "vibrant but infamously fragmented and undervalued" post-pank sahna.[7] While other English cities produced identifiable scenes with unified sounds, such as the synth-pop pioneers of Sheffild or the sombre post-punk of "Manchester", Birmingham produced a far more varied range of music that while often successful, influential and highly original, showed few signs of forming a single cohesive movement.[187]
Refusing to conform to a conventional post-punk sound,[188] Cho'chqa sumkasi were formed in 1980 by Birmingham musicians Kris Xamlin va Rojer Freeman while both were students in Cheltenxem.[189] Ularning birinchi albomi Dr Heckle & Mr Jive was a highly avant-garde work that mixed pank, bepul jazz, funk, jon va ska, reaching levels of musical experimentalism comparable to Ligeti, AMM yoki Stiv Reyx, but deliberately undermining its seriousness with self-deprecating humour and jocular, punning titles.[190] Despite being a challenging free jazz instrumental, their 1982 single "Papa's Got a Brand New Pigbag" was a major mainstream hit, reaching number 3 in the Buyuk Britaniyaning yakkaliklar jadvali after it was championed by Jon Peel.[191] Ex-punks Terry & Gerry also stood outside the post-punk mainstream, marrying witty and highly political lyrics to a stripped-down skiffle -revival sound between 1984 and 1986,[192] briefly establishing a reputation as "one of England's most exciting bands of the '80s" and recording a high-profile Peel sessiyasi, but failing to break through to widespread commercial success.[193] Oqqushlar yo'li achieved greater recognition for their highly individual and experimental sound, influenced by jazz, soul and French orchestral pop,[194] with their 1984 single "Soul Train" reaching the Top 20 and becoming a classic of its day.[195]
The most successful of Birmingham's eclectic soul- and jazz-influenced post-punks were Nozik yosh kanniballar, established in 1984 by two former members of Beat - gitara chaluvchisi Endi Koks va basist Devid Stil – who recruited Sparkhill -born former punk Roland sovg'asi vokalist sifatida.[196] Guruh deb nomlangan debyut albomi mixed the influence of English pop, American soul and European dance music and met critical acclaim and some commercial success within the UK,[197] but it was their 1989 second album, Xom va pishirilgan that propelled them to international stardom, reaching number 1 in the UK, the US and Australia and producing two US number 1 singles. Xom va pishirilgan was a "melting pot of styles",[198] its "shopping list of genres" encompassing Mod, funk, Motown, classic British pop, R&B, punk, rock, and disco, while tying them all together into artful contemporary pop.[199] to form "the perfect balance between artistic and commercial, organic and synthetic, past and present".[198]
Yangi romantiklar
The genesis of Birmingham's Yangi romantik scene – "the only one outside of London that ever really mattered"[200] – lay in the 1975 opening of the Xerst ko'chasi boutique of fashion designers Kahn and Bell, whose influence was to ensure that Birmingham didn't wholly conform to the uniform punk aesthetic that dominated the rest of the country.[201] 1977 yilga kelib Martin Degvil was designing and selling clothes from his own stall on Birmingham's Oasis fashion market and had become a legendary figure on Birmingham's club scene.[202] Bola Jorj later recalled that it was Degville's influence that led to his own relocation to the West Midlands in 1978: "he wasn't like the other punks, he was wearing stiletto heels and had a massive bleached quiff and huge padded shoulders. He looked brilliant."[200]
As the 1980s arrived, the Rum Runner Tungi klub played a significant role in rock music in the city, particularly in the case of Yangi romantik super guruh Duran Duran. Dexys Midnight Runners, Stiven Daffi, Au juftliklari va Byuro also emanated from the city's music scene at this time.
The Sharlatanlar, Dodgy, Hiss qildim, Lilac vaqti va Okean ranglari manzarasi were other notable rock bands founded in the city and its surrounding area in this period. Pop o'zini o'zi yeydi formed in nearby Sturbridj and consisted of Birmingham band members, as did Neds Atomic Dustbin.
Bangra
In the 1960s Birmingham was the birthplace of modern bangra,[13] a form of music which combines the influence of traditional Punjabi dance music with western popular music and urban qora musiqa kabi reggae va Hip Hop.[203] By the 1980s Birmingham was well-established as the global centre of bhangra music production and bhangra culture,[204] which despite remaining on the margins of the British mainstream[205] has grown into a global cultural phenomenon embraced by members of the Hind diasporasi worldwide from Los Angeles to Singapore.[13]
The origins of British bhangra lie with Sharq yulduzlari agentliklari, established by Muhammad Ayub as a small shop selling transistor radios on the Moseley Road in Balsall Xit in 1966, but soon including a business importing and selling recordings of traditional music from India and Pakistan.[206] In 1969 OSA established a record label to record the work of local Birmingham bands Anari Sangeet Party va Bhujhangy guruhi,[207] and it was Bhujhangy Group's early 1970 single "Bhabiye Akh Larr Gayee" that first took the momentous step of combining traditional Asian sounds with modern western musical instruments and influences.[208] Over the following years a network of local musicians and distributors emerged, recording in studios such as Zella in Edgbaston and distributing their work on kasseta through local pubs and electrical goods shops.[206] With a young and culturally self-confident audience of second generation immigrants receptive to musical innovation and experiencing a wide range of music in multi-cultural districts such as Xendvort, bands such as Bhujhangy Group continued to experiment with integrating western music such as guitars into their sound.[209] Newer groups began to take this further: DCS successfully fused bhangra music with rock, using only keyboards, electric guitar and a western drum kit in place of the traditional dhol;[210] esa Chirag Pehchan, another Birmingham bhangra band formed the late 1970s, combined bhangra with reggae, ragga, early hip-hop, soul, rock, and dance influences.[211] By the late 1970s bhangra had become well established as a significant and distinctive cultural industry among South Asian communities both in Birmingham and in Southall Londonda.[212]
The late 1980s and early 1990s marked the heyday of the grassroots bhangra scene.[213] Although the music remained largely underground, with sales of bhangra albums excluded from the British charts due to the scene's separate and often informal distribution networks,[214] successful bhangra bands could sell up to 30,000 cassettes a week, often outselling mainstream top 40 acts.[215] Groups usually featured between 5 and 8 musicians, often freely exchanging members, making one-off recordings and performing at Asian nights and weddings, with only the most successful being able to build longer-term recording and performing careers.[213] A network of late night and weekend events at local nightclubs was supplemented by "All-dayers" that could appeal to younger fans.[216] Bhangra musicians began experimenting with recording technology and with tracks such as Apna Sangeet's 1988 "Soho Road Utey" and DCS's 1991 "Rule Britannia" started to locate their songs within a distinctive British South Asian experience. [217] Xendvort "s Soho yo'li in particular developed a global cultural resonance, symbolising the specific cultural social and political space occupied by British South Asians.[217]
The city's cultural diversity also contributed to the blend of bangra va ragga kashshof Apache hindu in Handsworth. Bally Sagoo 's 1994 single "Chura Liya" was the first Asian language record to enter the British mainstream top 20.[6]
The late 1990s and early 21st century saw DJs, sampling and remixing gradually increase in importance in Birmingham bhangra [218] va baraban va bas grow as a musical influence.[219] British bhangra became increasingly important within India itself, influencing both traditional folk music of the Punjab and wider cultural phenomona such as the music of the Bollivud kino sanoati.[220]
Birmingham's importance in worldwide Bhangra is partly a result of its widespread connections to other areas of South Asian culture, both on the Hindiston qit'asi va davomida Hind diasporasi, and partly the result of its concentration of musical infrastructure, with an extensive web of record companies, distributors, recording artists, DJs and marketing activity.[204] Suky Sohal from the band Achanak has also highlighted the importance of Birmingham's tradition of interaction between eclectic musical cultures: "It's such a thriving place for music, it's very sort of inspirational in that sense to produce music with the mixture of different cultures in the city. I mean I was brought up in a white school, I work in a black area, and I play for a bhangra band so I've seen a lot of different cultures, and that does help the music a lot. I think that is why Birmingham is thriving musically ... because you got a lot of different cultures musically, and in everyday life."[221]
Gospel, soul and contemporary R&B
The Singing Stewarts, a family of five brothers and three sisters who moved to Xendvort dan Trinidad in 1961, were the first Xushxabar group to make an impact in Britain.[222] In 1964 they came to the attention of the Birmingham radio producer Charlz Parker, whose resulting documentary "The Colony" was to give the first media exposure to black working-class music in Britain.[223] With their repertoire ranging from negro ma'naviyat an'anaviyga Janubiy xushxabar and carrying a distinct Karib dengizi influence, their appeal transcended cultural barriers to a then-unprecedented degree[222] and although they refused to sing secular music[222] their audience extended to white non-churchgoers across Europe.[224] In 1969 they became the first Gospel Group to be recorded by a major record company when their classic and now extremely rare album Oh muborak kun tomonidan qayd etilgan Kiril Staplton uchun PYE Records.[225] Continuing Birmingham's tradition of pioneering gospel groups were the Majestic Singers, who formed in Handsworth in 1974 with 26 carefully selected singers from the New Testament Church of God and the intention "to bring to the black choir genre something that was peculiarly British."[226] In 1978 the Irish recording engineer Les Moir first heard the "astonishingly accomplished" work of lead singer Maxine Simpson and pianist Steve Thompson, subsequently recording the 1979 album Nihoyat bepul, which would prove groundbreaking for UK Gospel music.[226] The Majestic Singers were instrumental in developing the culture of Gospel music nationwide, promoting the formation groups in London, "Manchester" va Aberdin as well as Birmingham.[227]
During the 1980s the West Midlands lay at the centre of the development of a recognisably Britaniya ruhi style as a series of locally inflected zamonaviy R&B artists emerged from the area.[37] Jaki Grem was one of the most popular British R&B acts of the 1980s with a string of hits including "Could It Be I'm Falling in Love," "Round and Round" and "Set Me Free".[228] Brought up in Xendvort va ta'lim olgan Ladywood, she was spotted by a talent scout singing for a jazz-funk band in.1983.[229] By the end of the 1980s she was established as the most successful Qora inglizlar female artist of all time, and the first to have six consecutive Top 20 hits.[230] Success in the United States followed with her single "Ain't Nobody" spending five weeks at number 1 in the US dance charts in 1994.[231] Also brought up in Handsworth was Ruby Tyorner, the granddaughter of a noted Jamaican Gospel singer, who moved from Montego ko'rfazi to Birmingham at the age of nine.[232] In 1986 she released her debut album Women Hold Up Half the Sky, which had an unusually strong gospel influence for a 1980s soul record and was to prove both a critical and commercial success.[233] Over the next 11 years she got 8 singles in to the UK charts,[234] and in 1990 her single "It's Gonna Be Alright" reached number 1 in the US R&B charts, an extremely rare achievement for a non-American artist.[235]
Stiv Uinvud, who had been one of the leading figures of Birmingham music in the 1960s with the Spenser Devis guruhi va Yo'l harakati, returned as a solo artist in the 1980s with a hugely successful synthesiser-driven ko'k ko'zli jon tovush.[236] His 1980 album Diverning yoyi was a platinum seller in the United States[237] and its first single "Imkoniyatni ko'rayotganingizda " was also a major international hit.[238] He followed this with two further multi-platinum selling records over the course of the decade – 1986's Yuqori hayotga qaytish va 1988 yillar U bilan aylantiring – and series of singles between 1986 and 1990 that all reached number 1 in the American singles charts, including "Oliy sevgi ", "The Finer Things ", "Qayta yuqori hayotga qaytish ", "U bilan o'ting "va"Ushlab turish ".[239]
The most notable Birmingham soul artist of the early 21st century was Jameliya, kim tarbiyalangan Xokli, with an absent father with a conviction for qurolli talonchilik and a half-brother later convicted of a gangland murder.[240] Signed to a record deal at 15 after sending an kapella recording to representatives of Parlofon, she released her first album Drama in 2000, which met with modest commercial success and was accompanied by four singles which each made the Top 40.[241] It was her second album Rahmat, released after taking time away from music to raise her first daughter, which catapulted her to stardom,[242] being accompanied by three Top 5 hit singles and seeing her win four MOBO mukofotlari va Q mukofoti "Eng yaxshi singl" uchun.[243] Rahmat stood out from other contemporary British R&B albums in its acknowledgment its British cultural roots and context,[244] and included the title track "Rahmat ", a cathartic song about surviving domestic violence that peaked at number 2 in the UK charts.[245]
Shohlar Xit asoslangan Laura Mvula came to national attention in 2013, being nominated for both the Critics Choice award at the 2013 yil BRIT mukofotlari va uchun BBC 2013 yil ovozi so'rovnoma.[246] Although her debut album has been commended for being "full blown soul" rather than "pop with the occasional soul leanings",[247] it has brought in a far wider range of influences, including the hook-laden psixedel musiqasi Birmingem retro-futurists Broadcast as well as the Gospel sound inherited from her time with Qora ovozlar, creating a "sonic space all of her own"[248] that has been dubbed "Gospeldelia".[249]
Grindcore and extreme metal
In the mid 1980s Suv parisi in Birmingham's Sparkhill district lay at the centre of the emergence of grindcore,[250] which combined the influence of hardcore pank va o'lim metall to form arguably the most extreme of all musiqiy janrlar;[15] va guruh Napalm o'limi, the most influential and commercially successful band of all of the various genres of haddan tashqari metall.[251] The Mermaid was a run-down inner-city pub whose upstairs room would host bands that would not be booked by more commercial venues in Birmingem shahar markazi.[252] Justin Broadrick later remembered: "it was really just a shitty pub in a really shitty area, which just meant that you could get away with a lot more."[253] Promoter Daz Russell started booking hardcore pank bands at the venue in late 1984 and it quickly become an essential stop for touring punk bands and a focal point for fans from all over the country.[254] Napalm Death was formed in nearby Meriden 1979 yilda Nik Bullen va Miles "Rat" Ratledge, influenced initially by hardcore punk bands such as Crass, Chiqish and Birmingham's GBH.[255] First adopting their name and a settled lineup in late 1981,[256] they produced and traded kassetali lentalar xalqaro miqyosda,[257] and first performed in public in April 1981.[258] Bullen met Justin Broadrick in Birmingham's Rag Market 1983 yilda[259] and the two started making elektron va sanoat musiqasi while Napalm Death temporarily ground to a halt.[260] The band resumed activities in 1985 with Broadrick on guitar, increasingly coming under the influence of trash metall kabi harakatlar Celtic Frost, and performing at The Mermaid for the first time in October 1985.[252] Napalm Death soon became almost the house band at the Mermaid, with their growing local following ensuring good crowds for visiting bands.[261]
By this point Napalm Death had already developed the fusion of punk and metal styles described by Bullen as their objective: "we wanted that hardcore energy meeting slowed down, primitive metal riffs, and to basically marry that to a political message".[252] The final characteristic of what would become the grindcore style was added when Mik Xarris replaced Ratledge on drums in November 1985, introducing the fast 64th notes ustida bas baraban deb tanilgan portlash urishi.[262] Although their new, ultra-fast style initially met bemusement amongst their fans,[263] by March 1986 it had become established with a triumphant series of concerts,[264] and in August 1986 the band recorded the demos that would later emerge as the A-side of their debut album Qari in an overnight session at Selly Oak's Rich Bitch studios.[265] By the time the B-side of the album was recorded 7 months later the band's personnel had changed almost completely, with Bullen and Broadrick leaving and being replaced by Li Dorian va Bill Steer, and only Harris remaining from the earlier line up.[266] Despite this, the release of Qari would prove genre-defining,[267] its "staggeringly intense"[268] sound providing "a rallying call for what seemed like millions of bands to follow".[269] Its influence would also extend well beyond the extreme metal and hardcore subcultures: its extensive radio airplay from Jon Peel saw it reach the indie Top 10[270] and the textures of its "unrelenting, intense sound" would attract the attention of exponents of wider experimental musical styles such as atrof-muhit musiqasi va bepul jazz.[269]
Justin Broadrick initially left Napalm Death in 1986 to play drums with the Dadli -based grindcore band Dovudning boshlig'i, but again grew to feel increasingly constrained by their one-dimensional approach.[271] In 1988 he left to form his own band Xudo go'shti, whose first two releases – the 1988 EP Xudo go'shti and the 1990 album Streetcleaner – sounded unlike any other music up to that point, establishing the new genre of sanoat metall from the influences of og'ir metall and the more sonically experimental sanoat musiqasi, and paving the way for the later mainstream success of more accessible examples of the genre such as To'qqiz dyuymli mixlar.[272]
In 1991 Mick Harris also left Napalm Death to pursue more experimental musical directions, teaming up with Nik Bullen to form Yomonlik,[273] whose first three albums brought a strong dub influence to bear on music that resembled Napalm Death slowed down to a crawl,[274] forming a hybrid ambient metal tovush.[275] By the time of their fourth album Evansecence, however, Scorn's work had lost its metal elements and was increasingly based on namuna olish va elektron musiqa, moving deeply into atrof-muhitga oid dub.[275] Harris also joined up with New York City-based musicians Bill Laswell va Jon Zorn shakllantirmoq Og'riq qoldiruvchi vosita, whose sound mixed grindcore va bepul jazz.[276]
Hip hop and Dance music
The hip hop scene dates back to at least 1980, and has produced popular performers like Moorish deltasi 7 va Birodarlar va opa-singillar.
When hip hop performer Afrika Bambaata visited Britain he inspired new reperlar va Hip Hop DJs including Moorish deltasi 7 Elements, Sharbat Aleem, Roc1, Mad Flow, Creative Habits, Lord Laing, Fraudulent Movements, and DJ Sparra (twice winner of the DMC mixing championships).
House had been played in the City from the mid-1980s, DJ's such as Constructive Trio, Rhythm Doctor at the Powerhouse. Rhythm Doctor worked in one of the shops selling a lot of the early house 12"'s, Tempest. Frenchy (Constructive Trio) also worked in a record shop selling house – Summit Records & Tapes as well as being involved in radio. Pretty B Boy (constructive Trio) had his own record shop opposite St Martin's Church. Mixmaster (constructive Trio) was, as his name suggests, a master of the mix, and also worked in radio.
There were places such as 49er's, Roccoco, Willies T Pot, Mojo, Dial B, Salvation..which played a mixture, from funk, jazz, soul through to house via hip hop and all sorts of everything. Bill, Dick used to do 49ers bar and Roccoco, and earlier Anthony's, along with Ean and Aidan, who did Mjo and Willie's T pot. Nathan dj'd at 49er's around this time, playing everything from Prince to House and Balearic.
The city embraced the national kislotali uy scene with Lee Fisher and John Slowly's Hypnosis on a Thursday night at the Hummingbird Carling Academy Birmingham.[iqtibos kerak ] Followed shortly after by Snapper club at the same venue, which was Jock Lee and John Maher's Friday night, along with Jock and John, DJ's such as Martin & Bear, Pretty Boy B, amongst others. This span off into bank holiday all-dayers with guests including Lee Fisher, Sacha, Carl Cox etc. Although illegal acid house parties had been popping up in Birmingham before, the first proper legal all night acid party/rave was at The Hummingbird also, and was called Biology, which was a London organisation. Kislota uyi nights such as Spectrum took place in Tamworth and at The Hummingbird in Birmingham. Land of Oz at The Dome with Paul Oakenfold and Trevor Fung in 1989 which occurred on a Wednesday night, the same night The Happy Mondays played at The Hummingbird. Pirate stations such as Fresh FM and PCRL help publicize the music and parties, which help expand the scene in Birmingham. West End Bar was a major meeting place before parties, with Steve Wells and Steve Griffiths and was another important venue throughout this period of time. Electribe 101 hit the charts in 1988 with 'talking with myself'.
Brothers and Sisters took place in the 'Coast to Coast' club in the old ATV television studios on Broad Street 1990-yillarning boshlarida. Keyin keldi Fungle Junk, held for many years beneath Uy musiqasi klub Qiziqarli., and bringing The Psychonaughts, Andy Weatherall va Bezovtalarni chizish shaharga.
Electronic artists include Katta mag'lubiyat musiqachilar Bentley ritmi Ace, Eksperimental musiqa producer Enarjay 808 the Terminator and Elektronika guruhlar 101, Mistys Big Adventure va Avrokar.
Techno
The Birmingham-based journalist, DJ and record collector Nil Rushton was one of the first outsiders to discover Detroit's emerging texno sound in the late 1980s.[277] It was Rushton's mid-1988 compilation album Techno! The New Dance Sound of Detroit that first identified techno as a distinct musical genre, also being responsible for giving the genre its name,[277] va uning Tarmoq yozuvlari label, based in Stratford uyi in Birmingham's Kamp tepasi, that would be instrumental in introducing Detroit techno to British and European audiences over the following years.[278] The importance of Rushton to the emergence of techno was acknowledged in 2011 by Detroit pioneer Derrik May: "The guy discovered us. We were making music, but he brought us together and unified us and gave us the opportunity to attack the world and send our message out."[279]
Over the following decade Birmingham would become synonymous with British techno[280][281] and established alongside Detroit and Berlin as one of the major centres of techno worldwide[282] as the home of the distinctive Birmingem ovozi, which differed from the techno of Detroit and Berlin through being stripped almost entirely of its bassline funk, leaving only the cold mechanical drive of its metallic percussion arrangements.[281] Most closely identified with the city's Pastga qarab yozuvlar label and its local producers Regis, Jarroh va Ayol, Birmingham techno's characteristic hard, fast and uncompromising style was influenced as much by the local sanoat musiqasi scene that developed around Mik Xarris ning Napalm o'limi va Martyn Bates ning G'azoda ko'zsizlar as it was by the pioneers of American techno.[283] Downwards would become one of the most important labels in world techno,[284] and the "darkly reductionist" influence of its "huge slabs of unrelentingly unchanging minimalism" would be unmistakable in the development of the later techno scenes in New York City and at the Bergin Berlinda.[285]
In 2002 Regis went on to form Sandwell tumani, initially a label and later an international production collective that included the New York-based Funktsiya and the Los Angeles-based Jim xizmatkor, both of whom would briefly relocate to Birmingham.[286] Sandwell District's sound built upon the minimalism that the earlier Birmingham sound had established as the dominant techno aesthetic of the early 2000s, but also challenged it, being characterised by a greater degree of subtlety and refinement[286] and showing influences from wider musical genres including post-pank, poyabzal va o'lim toshi.[287] Sandwell District would in turn to create a major shift in world techno and influence another generation of techno musicians.[288] By the time that it announced its "glorious death" in 2012 the American Billboard magazine could write that "Sandwell District's influence on underground techno can hardly be overstated."[289]
Away from the style that bears the city's name, Mikrob was one of the formative influences on early UK techno, pioneering the combination of the form and techniques of electronic dance music with the more "composerly" models of classical, industrial and experimental jazz music to form what would later become known as electronic listening music, becoming "one of the most influential, under-recognized forces of innovation in the European experimental electronic music scene".[290] Originally a solo project of the Birmingham-born musician Tim Rayt, Germ later developed into a collaboration with other musicians including trombonist Hilary Jeffrey, double-bassist Matt Miles, and producer John Dalby.[290] In 1998 Wright and Jeffreys became founder members of the Birmingham-based spin-off project Qum[291] which sought to combine electronic music with organic instrumentation.[292] Wright has also released more dancefloor focused work as Tube Jerk.[293]
Ambient dub
Ambient dub was born as a genre in Birmingham in 1992, when the term was used by the city's independent label Rekordlardan tashqari[294] for their series of compilation albums documenting the music of the scene that had grown around the Birmingham club Tebranish.[295] While the rest of Britain was dominated by rave, Birmingham developed an underground scene combining the practices of elektron musiqa with the influence of local black and Asian music,[296] particularly the production techniques of dub, to create a highly ruhiy jihatdan downtempo sound that reinvented trans musiqasi by stretching the music out using aks sado, kechikish va reverb texnikalar.[297] Oscillate incorporated these new sounds with surrounding visual effects to create what it called "heliocentric atmospheres",[298] becoming "The club of the moment, making waves far beyond the Midlands".[299]
Oscillate was more about live electronic music performances than DJs playing records and it quickly became the centre of a network of producers and other musical collaborators.[300] The group most closely associated with the club was Oliy razvedka agentligi, established at Oscillate by its founder Bobby Bird in May 1992 to improvise live tracks between records, releasing their first track on Beyond's first compilation Ambient Dub Volume 1.[301] In 1993 they released their debut album Colourform va mamlakat bo'ylab o'zlarining eksperimental jonli aktlarini boshladilar.[301] Bundan tashqari, "Beyond Records" bilan bog'liq va "Oscillate" da doimiy ravishda ijro etiladigan[298] edi Leamington kurorti asoslangan Banco de Gaia Sharqiy va arab musiqasi namunalari va elementlari bilan atrof-muhitga oid dublyaj poydevorini qurgan.[302]
Rockers Hi-Fi 1991 yilda sobiq pank Richard "DJ Dik" Uittingem va sobiq rok-roller Glin Bush tomonidan tashkil etilgan,[303] ikkalasi ham Yamaykalik dublyaj kashshoflari ta'siriga tushib qolgan Qirol Tubbi va Li "chizish" Perri 1980-yillarning o'rtalarida Birmingem klubi sahnasida.[304] Ularning debyut singl "Push surish "va debyut albomi Rockerlar - Rockers dub va ta'sirining birinchi birlashishini belgilab qo'ydi uy musiqasi va "kislotali uy ishlab chiqarish uchun qayta belgilangan dub",[305] keyinchalik ma'lum bo'ladigan ovozni o'rnatish uchun biron bir yo'lni bosib o'tish sayohat hop.[303] 1993 yilda Uittingem va Bush tashkil etishdi Turli barabanchi tez orada xalqaro rassomlar ro'yxatini ko'paytirib, "oldinga siljish uchun dublyaj mahsulotlarini ishlab chiqaruvchi bosh do'koniga" aylanib, kengroq sahnalar bilan aloqalarni o'rnatdi, shu jumladan nemis va avstriyaliklar. nu-jazz.[305] Keyinchalik ular turli xil davulchini ishga tushirishdi ovoz tizimi, butun dunyo bo'ylab sayohat qilgan.[305]
Avvalgi Napalm o'limi barabanchi Mik Xarris "s Yomonlik loyiha o'zining so'nggi sonik aloqalarini uzdi grindcore uning 1994 yilda chiqarilishi bilan ildizlar Evanescence, "naqshli namunalar, chuqur bas va minimal ovozsiz vokallar ostida chiroyli raqsga tushadigan zarbalar paydo bo'ladigan qorong'i raqamli domenni" yaratish;[306] bu atrof-muhitning dublini qayta aniqladi[307] umumiy narsadan uzoqlashish orqali Roland TR-808 sintezator elementlari va Oscilllate bilan bog'liq bo'lganidan ancha quyuqroq tovush hosil qilish.[275] Xarrisning yozuvlari Tinch ning atrof-muhit chegaralariga yanada ko'proq bordi izolyatsiya, Scorn-ni butunlay ilmoqli ohanglarga va rivojlanayotgan to'qimalarga qaratishni xarakterlovchi barabanlarni va ritm halqalarini tashlab, qo'shiqlar ohanglar, xaymlar va uchuvchisiz samolyotlarning sekin, barqaror harakatlari singari kirib boradi va tashqariga chiqadi.[308] Xarris, shuningdek, Nyu-York shahri kabi musiqachilar bilan hamkorlikda o'z nomidan atrof-muhit va dublyajli albomlarni chiqardi Jeyms Plotkin,[309] va Bill Laswell[310] va Italiyaning Eraldo Bernokki.[311]
O'rmon, baraban, bass va garaj
Goldi janrining birinchi taniqli yulduzi bo'lgan baraban va bas,[312] inglizlarning birinchi mahalliy shakli raqs musiqasi.[313] Birmingem shimolida tug'ilgan Volsoll va tarbiyalangan mehribonlik uylari va mahalliy hokimiyat idoralari G'arbiy Midlend okrugi, U erta yoshdagi hayotini turli shaharlarda, shu jumladan, o'tkazgan Birmingem, London, Nyu-York va Mayami.[314] Dastlab u o'zining obro'sini ishlab chiqaruvchi sifatida bir qator poydevor qo'yish bilan qurdi qorong'i 1990-yillar boshidagi treklar, shu jumladan 1992-yilgi "Terminator", shubhasiz, butun sahnaning asosiy yo'nalishi.[315] 1992 yilda u asos solgan Metalheadz Birmingemda tug'ilgan DJ bilan Kemistriya[316] va keyingi yili "Anxel" chiqarildi, u ilgari epitomizatsiya qilgan qorong'u ovozning yo'q bo'lib ketishini boshlagan trek, tarkibidan namunalarni qo'shib qo'ydi. Brayan Eno va Devid Byorn va muvaffaqiyatli qatnashadigan birinchi trekka aylanish hardcore mohiyatini yo'qotmasdan yanada musiqiy yo'nalishda.[317] 1995 yilda u o'zining birinchi albomini chiqarishi bilan yakuniy xulosaga kelishgan Zamonsiz: "Goldi o'tmishidagi takrorlanuvchi tovushlar arxivi: yamaykalik dublyaj, Brit-soul, Detroyt techno, hip-hop va o'rmon / baraban 'n' bassdagi o'zgarishlar",[318] Goldining o'zi bu eklektik musiqiy didni uning Midlendda tarbiyalanganligi bilan izohlaganligi bilan: "bitta xonada bola" Steel Pulse "o'ynagan bo'lardi, devor orqali boshqa birov Yaponiyada rekord o'rnatgan va boshqa bir yigit" Human League "ni aylantirgan edi."[316] Zamonsiz katta umumiy muvaffaqiyatga erishgan birinchi baraban va bass yozuvlari edi.[312] Janrni hardcore past kashfiyot populizmidan ilg'or musiqiy hududga o'tkazish,[319] u "deyarli butun dunyo bo'ylab chiqarilgandan so'ng, bir asar sifatida tan olingan"[317] va Goldi janrning norasmiy figurasi sifatida qoldirdi,[319] birinchi marta amerikalik yulduzlarnikiga mos keladigan profilga ega ingliz figurasini o'rnatdi Hip Hop.[320]
Birmingemniki Orqaga 2 asoslari yangisining tug'ilishini belgiladi minimalist 1993 yilda "Orqaga 2 asoslar" va "Shoxlar 4 '94" deb nomlangan dastlabki izlari bilan o'rmon shtammlari.[321] Yorliq va unga aloqador ishlab chiqaruvchilar "sizning tomirlaringizni qotiradigan fitli urish va semiz basslinelar" ga bo'lgan ishonchlarini davom ettirdilar.[321] Keyingi yillarda kengroq o'rmon janri ko'proq melodik shakllarni o'zlashtira boshladi.[322] Taniqli nashrlar kiritilgan DJ Taktix 1994 yildagi "The Way" trekning juda qo'polligi va Asend va Ultravibe Keyinchalik, "Qanday dunyo", "Guardian Anxel" va "Haqiqiy sevgi" kabi afsuslangan nolalar.[323] Eng ahamiyatlisi 1994 yilda Asend & Ultravibe tomonidan Dead Dred nomi bilan chiqarilgan "Dred Bass" treki bo'ldi, u o'rmon mohiyatiga e'tiborini qaratgan holda juda innovatsion bo'lishga muvaffaq bo'ldi; uning teskari bassline va chaqqon tuzoq tovushi "o'rmonlarning ritmik psixodeliyaga aylanishida muhim belgi bo'ldi".[324] va keyingi ikki yil davomida o'rmonda hukmronlik qiladigan ultra og'ir bosh tovushini o'rnatdi - "har qanday baraban n-bas treklari kabi murakkab va aqlli".[322] Keyinchalik "Orqaga 2 asoslari" bu tendentsiyani Shimoliy Konneksionning "Ispan gitara" si va Merfi Qonunining "20 soniya" kabi pastroq og'ir treklari bilan davom ettirdi,[325] joylashtirilayotgan nashrlar to'plami gangsta rap "nihoyatda yovuz baslines" ustidagi namunalar poydevor yaratdi G-funk -ga asoslangan yo'nalish sakrash.[325]
Birmingemning harakatidan kelib chiqadigan eng e'tiborli harakat garaj sahna edi Ko'chalar, vokalist, prodyuser va instrumentalist boshchiligida Mayk Skinner.[326] Ko'chalarning birinchi albomi Original Pirate Material Britaniya musiqasida katta o'zgarishlar bo'lib, retro gitara asosida ham o'tdi indi guruhlari 2000 yillarning boshlari va urinishlari Britaniyalik reperlar Amerikalik hamkasblariga taqlid qilish, ingliz shahar atrofi mavjudligining kundalik tafsilotlarini tanib olish mumkin Brummi aksenti.[327] Skinnerning qo'shiq yozishi garajning ishlab chiqarish qiymatlarini birlashtirdi, kir va 2 bosqichli ning inglizcha kuzatuv qo'shiq yozish an'anasi bilan Kinklar va Maxsus narsalar,[328] Brummi o'ziga xos kamsituvchi hazilni namoyish etayotganda.[329] Uning debyut albomi 2000 yillarning albomi deb e'lon qilindi The Guardian, "bu o'n yillikning unsiz qanday bo'lishini tasavvur qilishning iloji yo'q", deb sharhlagan kim,[328] va keyingi yillarda, shu jumladan 2004 yilda yana to'rtta albom yaratadi kontseptsiya albomi Buyuk bepul kelmang va uning 2011 yilgi so'nggi albomi Kompyuterlar va ko'klar.
Retro-futurizm
1990-yillar davomida Buyuk Britaniyaning qolgan musiqalari to'g'ridan-to'g'ri sodda bo'lgan tiklanish ning Britpop, Birmingem ko'proq rivojlandi kinoya - bog'langan retro-futurist musiqasi submulturasi, uning ovozi bo'yicha ancha tajribali va yaqin o'tmish bilan aloqasi ancha noaniq edi.[330] Harakat bilan bog'liq bantlar uslubi jihatidan juda xilma-xil bo'lib, jozibali va efir poplaridan tortib Eshittirish, yanada dahshatli va burchakli ishlarga Pram va sirli aniq instrumental musiqa Plone.[331] Barchasini ilgari zamonaviy deb o'ylab topilgan eski musiqiy texnologiyalarga bo'lgan qiziqishlari birlashtirdi,[332] va undan "odamlar kelajakka umidvor bo'lgan vaqt uchun nostalji" degan kinoya hissi yaratish uchun foydalanish.[333] Broadcast-dan Tim Felton qanday qilib "o'tmishni olib, oldinga siljitish va taqdim etish" kerakligini ta'kidlab, "bu o'tmishni haqiqiy anglashi emas. Bularning barchasi butunlay boshqacha idrok va haqiqat"[332] Amerika Milliy jamoat radiosi tasvirlangan Trish Kinan "nima sodir bo'lganligi va nima bo'lishi mumkinligi haqida parallel dunyolar orasidagi elchi" sifatida, u "xotirani nostaljik sabablarga ko'ra kamroq va dunyo uchun ko'proq qiziqtirganligini va uni buzib qayta yozgan holda yashayotganini" ta'kidladi.[334]
Birmingemning milliy oqimdan ajralib turishi qisman shaharning o'ziga xos eklektik musiqa madaniyati bilan bog'liq edi. Pramdan Rozi Kakston, asli Yorkshir, qanday qilib "Birmingemga kelganingizda, siz birdan popingiz yoki pankingizdan tashqarida hayot borligini va boshqa ta'sirlar o'zlashtira boshlaganini anglaganingizni" esladi.[333] 1996 yildagi Broadcast-ning dastlabki sharhida ularni "janrlar oldida kulish" deb ta'riflagan.[335] Arxitektura tanqidchisi Ouen Xetli Shuningdek, bu voqeani Birmingemning noyob yaqin tarixi bilan bog'lab qo'ydi, chunki urushdan keyingi davrda rivojlangan iqtisodiyot va futuristik qayta qurish 1980-yillardagi iqtisodiy qulash va melankolik shahar landshaftiga yo'l ochdi.[336]
Birmingemning retro-futuristik sahnasining ildizlari 1980-yillarning o'rtalarida boshlangan. Klub kechasi Sensateriya 1984 yildan 1994 yilgacha Birmingemning turli joylarida o'ynab yurgan ruhiy jihatdan kabi rassomlarning eksperimental musiqasi Kapitan Beefheart va Frank Zappa. Bu 1960-yillarning oxirlarida Amerika Qo'shma Shtatlari Kaliforniyalik guruh kabi seminal ta'sirga oid muhim raqamlarni tanishtiradigan muhim erta uchrashuv joyi edi.[337] Retro-futurizm atamasi birinchi marta musiqaga nisbatan Brayan Daffi tomonidan qo'llanilgan bo'lib, u musiqani musiqaga murojaat qilish uchun ishlatgan Stilofonik, u Robert Shou bilan o'rnatgan Oqqush yo'li 1984 yilda va uning chiqishlarida 15 ishtirok etgan analog sintezatorlar sahnada jonli efirda ketma-ketlik - "Biz Kraftwerk, Walker Brothers va Marc Bolan aralashmalarini bajardik ... bu glam rock sintezatori edi"[338]
Pram 1988 yilda tashkil topgan sahnaning birinchi yirik guruhi edi,[339] ularning dastlabki ovozi vokal va unga qo'shilib ketish bilan cheklanganligi bilan u erda.[340] Ularning minimalist va abraziv 1992 yildagi debyuti Gash dan ajralib turardi grunge va poyabzal tikish o'sha paytda muqobil musiqada hukmronlik qilgan, aksincha keyingi rivojlanishlarni kutgan lo-fi va post-rok,[341] va ularning musiqiy palitrasi keyingi versiyalarga nisbatan tez kengayib bordi jazz va Hip Hop glockenspiels, o'yinchoq pianino va Gavayi pufakchali mashinasini o'z ichiga olgan elementlar va g'ayrioddiy asbobsozlik.[340] Sahnaning eng taniqli eksponentlari edi Eshittirish, 1995 yilda tashkil etilgan va Birmingem retrofuturist guruhlari orasida 1960 yillarning psixodeliyasi bevosita ta'sir ko'rsatgan.[342] Oldin efir vokallari bilan ajralib turadi Trish Kinan, Broadcast birlashgan ta'sirlar kabi turli xil edi kutubxona musiqasi ning Rayhon Kirchin, bolalar musiqasi Karl Orff va soundtracks Chexoslovakiyalik syurrealistik kino, aniqlanadigan pop qo'shiqlarini ishlab chiqarishni davom ettirishda.[343] Ular asosan tijorat muvaffaqiyatlaridan qochgan bo'lsalar-da, ular katta va xalqaro kultga ergashdilar va turli xil san'atkorlar ta'siri sifatida tilga olindi. Xiralashish, Pol Weller va Xavfli sichqon.[344]
Indi va post-pankdan tiklanish
Tahrirlovchilar ning etakchi guruhlaridan biri bo'lgan indi va post-pankdan tiklanish XXI asrning birinchi yillarida Evropa va Amerika bo'ylab tarqaldi.[345] Shakllangan Stafford 2002 yilda ular ko'chib o'tishdi Shohlar Xit 2003 yilda Birmingemda rekord shartnomani izlash uchun,[346] guruh o'z musiqalarining qorong'u va burchakli muhitiga ta'sirchan ta'sir sifatida shaharning "neon kechalari" va "qorong'i, ta'sirchan tuzilmalarning romantik jozibasi" ni tan olgan.[347] "Qorong'u diskoteka" deb nomlangan, chunki u "pank-post-pank ovozi bilan",[348] ularning 2005 yilgi birinchi albomi Orqa xona nomzodi ko'rsatildi Merkuriy musiqa mukofoti, va ushbu albom ham, 2006 yildagi davomi ham Tugashning boshlanishi bor sotilgan platina.[iqtibos kerak ]
2006 yilda Merkuriy mukofotiga da'vogar bo'lgan Guillemots boshchiligidagi ko'p millatli guruh Mozli va Bromsgrove tarbiyalangan qo'shiqchi, qo'shiq muallifi va ko'p instrumentalist Fayf Dangerfild.[349] Ularning birinchi albomi Deraza oynasi orqali tomonidan tasvirlangan Mojo jurnali "britaniyalik rok-musiqaning keng miqyosda qayta tug'ilishi" belgisi sifatida,[350] ta'sirini birlashtirish indi pop, jazz, samba, belanchak urishi va psixodeliya,[351] orkestr, kolliery guruhi, gitara elektr burg'ulash vositasi, guruch bo'limi va tomonidan tasvirlangan qo'shiqni namoyish etgan albomda Stylus jurnali "ahmoq olimlar tomonidan jonli va akustik ijro etiladigan baraban-bassga yaqinlashayotgan narsa" sifatida.[352] Dangerfield janrlarni himoya qiladigan Birmingem guruhlari an'analariga mansub Elektr nurlari orkestri va Dexys Midnight Runners eksperimental musiqani jozibali pop musiqalari bilan birlashtirgan,[353] uning karnavalistik qarashlarini tasvirlab berar ekan: "Men sayohat qilayotgan sirkga o'xshagan guruhda bo'lishni xohlardim, men hamma bir xil ko'rinishda va bir xil musiqa tinglaydigan guruhda bo'lishni xohlamadim ... Men guruh olishni xohladim Birgalikda bu butunlay boshqacha bo'lar edi, bir nechta noto'g'ri narsalar. "[350]
Musiqasi murakkab aranjirovka va g'ayrioddiy asboblar bilan ajralib turadigan yana bir Birmingem guruhi Shady Bard[354] kimning lo-fi xalq ta'sirida bo'lgan indi musiqasi uning asoschisi Lourens Beko tomonidan ilhomlangan sinesteziya.[355]
2012 yildan beri Digbeth asoslangan B shaharchasi kabi guruhlar boshchiligidagi sahna keng e'tiborni tortdi Tinchlik va Chuqur suzish, bilan NME Digbetni Londonnikiga taqqoslash Shoreditch va Mustaqil "Birmingem tezda Buyuk Britaniyadagi eng qiziqarli yangi musiqani qidiradigan eng yaxshi joyga aylanmoqda" deb yozish.[356] Garchi sahnadagi etakchi guruhlarning aksariyati unchalik o'xshash emas,[357] tanqidchilar umumiy guruhni "guruhlar o'zlarining musiqalariga bir oz yumshoqlik bilan munosabatda bo'lishlari, o'zlarining yozuvlarini mukammal darajada silliqlashda emas, balki musiqa yaratish va tinglovchilarining ko'nglini ochish uchun o'ynashlari" ni aniqlaydilar.[358]
Taniqli tarixiy musiqiy rassomlarning ro'yxati
Muvaffaqiyatli Birmingem qo'shiq mualliflari va musiqachilari Stiv Gibbons, Mayk Kelli (ning Qo'rqinchli tish ), Yalang'och Beyli (sobiq vokalist Volfsbane va Temir hizmatkor ), Keyt qonuni (ning Velvett Fogg & Jardin) Jeff Leyn, Fil Linot, Jameliya, Kelli Deyton Sport poyabzali, Martin Barre (gitara chaluvchisi bilan Jetro Tull ), Stiv Kredok (Ocean Color Scene uchun gitara chaluvchisi va Pol Weller ), Stiven "Qalay qalay" Daffi, Fritz Makintayre (klaviaturachi Shunchaki qizil ), Kristin Perfect (ning Flitvud Mac ), Nik Rods, Jon Genri Rostill (gitarachi / bastakor uchun Soyalar ), Mayk Skinner, Jon Teylor, Rojer Teylor, Ted Tyorner (gitara / vokal, Wishbone Ash ), Piter Overend Vatt va Deyv Meyson.
Zamonaviy joylar, festivallar va tashkilotlar
Birmingemning hozirgi katta va kichik musiqa joylari - ICC, The Milliy yopiq arena, O2 akademiyasi Birmingem, Milliy ko'rgazma markazi, CBSO markazi, Glee Club, Birmingem konservatoriyasidagi Adrian Boult zali, Yardbird, Mac (Midlands san'at markazi) Cannon Hill Park, The Xamir zavodi, Baraban san'ati markazi, The Jam uyi va bar va bar joylari, jumladan, "Kamalak" (Digbet), "Buqaning boshi" (Mozli atrofida), "Xoch" (Mozli), "Ceol Castle" (Moseley), "Hare and Hounds" (Kings Heath), "Scruffy Murphy's," Ale krujkasi, Qirolichaning qurollari (shahar markazi) Barfly va Hibernian. Chap oyoq bu Bi-bi-si radiosida namoyish etilgan jon jazz va funk kechasi.
Parkdagi ziyofat Birmingemning eng yirik yillik musiqa festivali edi, da Cannon Hill Park, bu erda barcha yoshdagi 30 minggacha revelers mashhur chart musiqalarini tinglashadi. Endi u barcha janrlarning imzosizlari uchun kunga aylandi va 2013 yilda hayotga qaytdi, chunki imzosiz xatti-harakatlar ular uchun o'z kunlarini qilish vaqti keldi deb qaror qildi. Musiqachilar, agentlar va promouterlardan tashkil topgan "Birmingham Promotions" notijorat guruhi o'z vaqtlari va pullarini butun oila uchun bir kunga sarflash uchun birlashdilar. U erda ham bor Moseley folklor festivali (2006 yildan beri), bu Mozli bog'ida bo'lib o'tadi va yangilarini belgilangan folklor aktlari bilan aralashtiradi.
Birmingem tomonidan taqdim etilishi mumkin bo'lgan eng yangi musiqa festivali - 2006 yil mart oyida uchirilgan Gigbet va endi har yili noyabr oyining birinchi hafta oxiri Digbetda bo'lib o'tadi. Gigbet - bu G'arbiy Midlendning mahalliy mustaqil musiqasini nishonlaydigan musiqa festivali.
Diqqatga sazovor bo'lgan raqs musiqasi yozuvlari yorliqlarini o'z ichiga oladi Tarmoq yozuvlari (ning Alternativ8 shon-sharaf), Turli barabanchi, Urban Dubz Records, Badger reklama aktsiyalari, Jibbering yozuvlari, Temir odam, Earko, FHT[1] va Munchbreak yozuvlari. Punch Records, Xamir fabrikasida ko'cha raqsi va DJni tayyorlash kurslarini o'tkazing.
Shaharda gullab-yashnayotgan musiqiy sahna va Robannas, Rich Bitch va Madhouse singari ko'plab repetitorlik studiyalari mavjud bo'lsa-da (ularning ko'pchiligi o'zlarining ovoz yozish studiyalariga ega), professional darajada ishlaydiganlar juda kam. Gacha Circle Studios 3000 kvadrat metrni (280 m) ochdi22007 yilda UB40 va Ocean Color Scene qo'lidagi xususiy studiyalar va Artisan Audio kabi kichik studiyalardan tashqari, Birmingemda yuqori darajadagi ovoz yozish studiyasi bo'lmagan.
Shaharda sotiladigan mustaqil do'konlar yozuvlar Qilich baliqlari yozuvlari, Tempest yozuvlari, Jibbering yozuvlari, Punch yozuvlari, Old School Daze, Dance Music Finder Records, Three Shades Records va Yozuvlarni topish qiyin, bu Buyuk Britaniyadagi asl "raqs musiqasini topuvchisi" va hozirda dunyodagi eng yirik vinil yozuvlar va DJ do'konlaridan biri sifatida sotilmoqda. Summit Records asosan sotiladi reggae va ikkiga tenglashadi Afro-Karib dengizi sartaroshlar.
Birmingem tug'ilgan joyi edi Street Soul Productions, 2005 yilda tashkil etilgan, 2008 yilda jamoat tashkilotiga aylangan va shu vaqtdan boshlab musiqa ustaxonalari va tadbirlarida onlayn translyatsiya bilan bir qatorda to'plangan yozuvlar yorlig'i. Street Soul Productions - bu Alternativ UK Hip Hop-ga qaratilgan. U turli uslublarning keng doirasini qamrab oladi va unda musiqa ijrochilari, qo'shiqchilar, DJlar, prodyuserlar va seans musiqachilari mavjud.
Adabiyotlar
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- Ritu, D. J. (1999), "Bhangra/Asian Beat - one-way ticket to British Asia", in Broughton, Simon; Ellingem, Mark; Trillo, Richard (eds.), World music: the rough guide. Afrika, Evropa va Yaqin Sharq, London: Rough Guides, ISBN 978-1858286358, olingan 23 iyun 2013
- Sarig, Roni (1998), Secret History of Rock: The Most Influential Bands You've Never Heard, New York: Billboard Books, ISBN 978-0823076697
- Shapiro, Peter (1999), Drum 'n' Bass: qo'pol qo'llanma, London: Rough Guides, ISBN 978-1858284330, olingan 3 noyabr 2013
- Smith, Steve Alexander (2009), Britaniya Qora Xushxabar, Oxford: Monarch Books, ISBN 978-1854248961, olingan 13 oktyabr 2013
- Teynbi, Jeyson (2005), "Birmingem", Cho'ponda, Jon; Shox, Dovud; Laing, Deyv (tahrir), Dunyoning mashhur musiqasi davomiy ensiklopediyasi, 7, New York, pp. 354–355, ISBN 978-0826474360
- Valk, Robin (2010), Handsworth Evolution, Birmingham: Birmingham Music Heritage, olingan 30 iyun 2013
Tashqi havolalar
- Birmingham Music Archive Celebrating, Preserving and Sharing Birmingham's Music Heritage.
- Brum Beat West Midlands Pop Groups of the 1960s
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