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The band were formed in 2003, having met whilst studying at the Liverpool Institute of Performing Arts. Featuring Matthew Murphy (lead vocals, guitar, keyboard), Daniel Haggis (drums, percussion, backing vocals) and Tord Øverland Knudsen (bass, guitar, keyboards, backing vocals), the band quickly got to work making music, They released several Eps in their early years, including "The Hangover Sessions," "No. 3" and "The Daring Adventures of Sgt. Wimbo and His Pet Otter."
After releasing their debut, "Girls, Boys and Marsupials," in Japan only, they then released a number of singles that would bring The Wombats their first taste of success. "Backfire at the Disco" peaked at number 35 in the UK SIngles Chart, followed by "Kill the Director" which also received lots of airplay. Their debut album on 14th Floor Records, "The Wombats Proudly Present: A Guide to Love, Loss & Desperation," stormed the album charts, reaching number 11 in October 2007, bolstered by the success of singles "Let's Dance to Joy Division" and a re-release of "Moving to New York," which went to number 13 in the UK Singles Chart.
In 2008, the band embarked on a number of tours, traveling across the UK, Europe and Japan. They also became a big name on the annual festival circuit, playing at Glastonbury Festival, Reading & Leeds Festival and T in the Park.Their second album, "The Wombats Present… This Modern Glitch," appeared in 2010, featuring the top 40 single "Tokyo (Vampires & Wolves)" as well as "Techno Fan." The album itself faired well, reaching number three in the album chart.
It was three years before The Wombats returned with new music, releasing the single, "Your Body Is a Weapon," which received significant support on BBC Radio 1. To great excitement, The Wombats began a countdown till the release of their third studio album, "Glitterbug," for a January 2015 release.
Brought up in a religious household where secular music was discouraged, Estelle found herself surrounded by gospel music and her parent’s collection of reggae and traditional African music. While they were out of the house, she would sneakily listen to hip-hip and R&B on the radio, with early influences lying in Ella Fitzgerald, Mary J Blige and Jill Scott.
In her early 20’s, while working in a hip-hop record shop Estelle’s colleagues encouraged her to partake in an open mic night. It seems her inherent love for the stage began there as she began regularly performing in small clubs around London as she performed alongside Roots Manuva and Rodney P.
On a trip to Los Angeles, US in the early 2000’s, with a stroke of luck Estelle happened to be in the same restaurant as US rapper Kanye West. Getting acquainted with West, she asked for an introduction to soul star John Legend and working her British charm she got her wish. Legend went proceeded to help produce two tracks on her 2004 debut album “The 18th Day”. Although the album only peaked at number 35 on the UK charts, the album produced the breakthrough track “1980” which peaked at number 14 in the singles chart as critics praised Estelle’s ability to fuse her influences while adding a fresh twist. With the singles “Free” and “Go Gone” the album earned Estelle the 2004 MOBO Award for Best Newcomer.
In 2007 John Legend announced Estelle would become the first signing on his new label HomeSchool in conjunction with Atlantic Records. The following year Estelle made her major label debut with the album “Shine” produced by John Legend as she collaborated with Will.i.Am., Mark Ronson and Cee-lo Green. The lead single “American Boy” featuring Kanye West saw Estelle clinch her first UK number one as it went international invading top chart spots in Australia, US, France and Sweden. Later that year Estelle was shortlisted for the Mercury Music Prize Award. In 2009 “American Boy” won a Grammy Award for Best Rap/Sung Collaboration.
Estelle’s third album “All of Me” released in 2010 featured collaborations with Rick Ross on the lead single “Break My Heart” and Nas on “Fall in Love”. In 2013 through BMG, Estelle was able to set up her own label, New London Records which allowed her more creative control and a platform to release the “Love and Happiness” EP’s.
Having collaborated with artists from: Faithless, Busta Rhymes, Gym Class Heroes and Chris Brown, Estelle has truly blossomed into a world class star in her own right.
Originally formed with a host of influences ranging from punk rock to new wave, Bobby Gillespie and Jim Beattie first began by banging dustbin lids together and playing fuzz-guitar. Primal Scream’s debut performance came in 1982, however it wasn’t until 1984 the band made their recording debut with the single “The Orchard”, released on school friend Alan McGee's Essential Records. In 1985 Primal Scream signed with Creation Records, however despite a number of single releases, didn’t find success until Gillespie departed his other group the Jesus and the Mary Chain.
With the addition of Andrew Innes and Robert Young, the band found their single “Velocity Girl” end up on an NME cassette tape. The result was huge exposure for the developing band, and they fit the indie pop image like a hand to a glove. The band’s debut album “Sonic Flower Groove”, issued in 1987, was received with critical acclaim, as was is successor the self-titled “Primal Scream” in 1989.
The band's subsequent release saw a move away from the rock and roll aesthetic of the Rolling Stone and the Stooges, and towards the growing electronic and acid house scene. The result was “Loaded” a reworking of the existing song “I’m Losing More Than I’ll Ever Have”, making rock and roll accessible to dance fans and dance accessible to rock and roll fans. Primal Scream’s subsequent album “Screamadelica” represented an epoch in UK pop history, it brought techno and house to a mainstream ear. The album earned remarkably rave reviews and later won the very first Mercury Music Prize in 1992.
1994’s “Give Out but Don’t Give Up” saw the band return to their hard rock element, although in comparison to its predecessors faired neither well in the charts or nor among critics. Shortly after Primal Scream contributed the lead track to the cult film “Trainspotting”, which paved the way for a darker themed well-received electronic album titled “Vanishing Point” in 1997. The band subsequently released the albums “XTRMNTR” in 2000, “Evil Heat” in 2002, “Riot City Blues” in 2006, and “More Light” in 2013.
In 1973 New Jersey residents Michael “Wonder Mike” Wright, Henry “Big Bank Hank” Jackson, and Guy “Master Gee” O’Brien were assembled by producer Sylvia Robinson and formed The Sugarhill Gang. Sylvia Robinson and record mogul husband Joe Robinson were also founders of the label Sugar Hill Records named after the Sugar Hill, Harlem, New York neighbourhood.
Sylvia Robinson, aware of the popularity of hip-hop block parties tried to cash in and produce an infectious and catchy hit. The Sugarhill Gang released the single “Rapper’s Delight” in 1979 and became an instant worldwide hit with its notoriously groovy and danceable bass line of Bernard Edwards from Chic’s “Good Times”. “Rapper’s Delight” has gone on to sell over eight million copies worldwide, peaked at No. 3 in the UK singles chart and has been considered the first song to popularise rap in the U.S. and around the world.
Despite their early success, The Sugarhill Gang were unable to capitalise on their popularity with all of their albums failing to perform well commercially and critically. The band released an eponymously-titled debut album in 1980, and a sophomore album titled “8th Wonder” in 1982. After “Rapper’s Delight” the band had a number of moderate hit singles including “8th Wonder”, “Apache” and “Showdown”, although for the most part faded out of public consciousness by the mid-1980s.
The group returned in April 1999 to release the children’s rap album “Jump on It!” through Rhino Entertainment. The album was relatively well-received, featured a child friendly version of “Rapper’s Delight” and maintained the band’s old school hip-hop vibe. In 2014 Big Bank Hank died at the age of 58 after a long battle with lung cancer.
I first got into The Wombats after perusing the Top Forty and finding their latest single 'Tokyo (Vampires and Wolves) quite high on the charts. I was intrigued by the incredible album artwork, and instantly fell in love with their alternative, punky tunes. Three months later, my parents gave me permission to go to my first concert. I instantly thought of my new favourite band, and booked tickets to go with a couple of friends to see The Wombats. Fastforward to February 22nd 2012. I saw them at the O2 Academy Brixton, a large but popular venue that never fails to provide the right atmosphere for a show. The Wombats did not fail to deliver either. They played for over two hours, and all of it was explosive. They played the entirety of 'This Modern Glitch' (complete with lasers and confetti) as well as their most popular tunes from 'Love, Loss and Desperation', ending with the classic 'Let's Dance to Joy Division." Of course, not only was there a stellar performance, but their interaction with the crowd was impeccable. With Murph constantly ordering for another 'wall of death' and Tord crowd-surfing, The Wombats do not disappoint, and most certainly is not a band to miss.
In a world of big personality divas, Estelle is the most under-appreciated R&B artist. It’s a breath of fresh air to have an artist who spills out talent left and right but maintains a high level of humble-ness. That being said, the reason I saw Estelle live was because she was the headlining act for my University’s annual “start of term” concert, which meant it was a free show for me. I really only knew her single “American Boy,” but definitely became a bigger fan as her set went on. The best thing about her live sets are that they take on a different sound than when you hear her studio sessions; important in terms of keeping a unique sound that you can only get from her songs when you see her live. Because there is a live band backing her, they take on more of a rock pop sound than just your standard R&B pop. One thing that really stood out was her genuine love of her music and her fans. In between songs she kept thanking the crowd, and as the band would set for the next song, she would also have a small chat with the audience.
Closing with her single “American Boy,” which was right at the peak of its popularity, she thanked the audience and the university once again, and then encouraged the audience to sing a long. Everyone in the audience did know the song, so she would occasionally let the audience take over for the chorus of the song while she danced along. Definitely one of the most fun performances in all the four years I was at university.
Founded by the original drummer for The Jesus and Mary Chain, Bobby Gillespie, Primal Scream are absolute legends of the eighties post punk scene. Fed up with the so called “new wave”, Gillespie set out to create a different sound. Let the record reflect that he succeeded. Eventually finding a happy medium between hard rock and acid house, to see them live in their prime was a joy and delight.
Catching one of their festival sets in the early nineties (they still make the festival rounds in the UK, so you haven’t missed your chance) was one of the highlights of my misspent youth. From the very start Primal Scream had the crowd on their feet and well…screaming. With a fairly unadorned dark stage, absolutely packed with musicians, this is a band that knows it doesn't need any bells and whistles to please its audience. Effortlessly switching from a funky dance beat to a more bluesy sound (think the Stones) and back again, these Glasgow rockers cannot fail to make an impression. By the time they got around to playing their big hit, the crowd was practically in a frenzy of wild sweaty joyful movement. There is a reason why true music fans consider Primal Scream such legends and this was it.
There are rap legends, and then there’s the Sugarhill Gang. With the old-school classic ‘Rapper’s Delight’ in 1979, the New Jersey outfit basically came to define what hip hop was for future generations, and also displayed a canny bit of forward-thinking in interpolating the Chic track ‘Good Times’ into the song, apparently predicting their recent renaissance decades in advance. ‘Rapper’s Delight’, in 2011, was preserved into the National Recording Registry, telling you all you need to know about its cultural significance. They had a slew of hits since - ‘Apache’ included - but never again quite recaptured the magic that made their biggest hit so genre-defining. Later on, they’d eventually disband in 2007, eight years after releasing their last album, Jump on It!, and continuing to play live sporadically in the interim. They reformed, though, shortly afterwards, and still tour today; they’re on the road in the UK and Europe as I type this, with a recent club show in Manchester meeting with superb reviews - as well as running through their own back catalogue, the group offered their own takes on Run-D.M.C.’s ‘Walk This Way’ and House of Pain’s ‘Jump Around’, making the evening a genuine old-school extravaganza.
Was amazing the band were so interactive with fans and made sure that they were present in the front rows, even taking part in crowd surfing and a mosh pit. Was the best night i’ve had in a long time
Wherever The Futureheads go, and whatever they do next I’m afraid to say they’ll be followed by plenty of “oh-ohoh-oh-ohohs”. Thanks to their superb cover of Kate Bush’s ‘Hounds of Love’, they’ll always be remembered for THAT SONG. The Sunderland four-piece shot to critical acclaim in 2004 thanks to their self-titled debut album, winning plenty of awards along the way for their mix of post-punk and three/four part harmonies. There can be no doubt the band know their way around a great pop song, following that record up with two more consistent albums in the form of News and Tributes and This Is Not The World. The band has been a lot quieter of late when it comes to playing live, perhaps seeking to distance themselves from certain songs, but it’d be a sad day if a show by The Futureheads didn’t contain the stop-start dynamics of ‘Decent Days and Nights’, the aggressive ‘The Beginning of the Twist’ and of course the standard set-closer of ‘Hounds of Love’. Barry Hyde and co might also treat you to some acapella or acoustic versions of some of their tracks, just showing off some excellent voices in the process. They may not escape that song, but really why should they want to when crowds continue to have a great time listening?