Popular music of Birmingham

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Brum beat era,[6] to the city's "infamously fragmented" post-punk scene,[7] to the "astonishing range" of distinctive and radical electronic music produced in the city from the 1980s to the early 21st century.[8]

This diversity and culture of experimentation has made Birmingham a fertile birthplace of new musical styles, many of which have gone on to have a global influence. During the 1960s the

ska revival grew out of the West Midlands uniquely multi-racial musical culture.[14] Grindcore was born in Sparkbrook from fusing the separate influences of extreme metal and hardcore punk.[15] Techno's Birmingham sound combined the established sound of Detroit techno with the influence of Birmingham's own industrial music and post-punk culture.[16]

Early rock and roll

Interest in rock and roll developed in Birmingham in the mid-1950s, after American recordings such as Bill Haley & His Comets' 1954 singles "Shake, Rattle and Roll" and "Rock Around the Clock"; and Elvis Presley's 1956 singles "Hound Dog" and "Blue Suede Shoes" began to appear on British airwaves.[1]

Many performers who would be influential in the later growth of Birmingham music emerged during this era. Danny King had been receiving American blues and soul recordings by mail order from the United States since 1952, and soon afterwards began to perform covers of songs by artists such as Big Joe Turner in pubs such as The Gunmakers in the Jewellery Quarter.[17] In 1957 he formed Danny King and the Dukes with Clint Warwick, performing rhythm and blues covers in local clubs and cinemas.[18] Tex Detheridge and the Gators began performing Hank Williams covers on Saturday nights at The Mermaid in Sparkhill and on Sundays at the Bilberry Tea Rooms in Rednal in early 1956.[19] The emergence of skiffle as a popular phenomenon in 1956 saw the birth of a new wave of Birmingham bands. The Vikings started as a skiffle group in Nechells in the spring 1957,[20] with Pat Wayne and the Deltas also emerging as a skiffle group in Ladywood around the same time,[21] spending the summer of 1957 busking on pleasure boats on the River Severn in Worcester.[22]

Brum Beat

By the 1960s Birmingham had become the home of a popular music scene comparable to that of

New Musical Express calculated that in 1964 there were over 500 groups operating within the city.[3] Birmingham was a bigger and more diverse city than Liverpool, however, that was never subject to a single controlling influence such as that exercised by Liverpool's Brian Epstein; and as a result Birmingham's bands never conformed to a single homogenous sound comparable to Liverpool's Merseybeat.[23] Instead the city's music was characterised by a "rampant eclecticism",[6] its style ranging from traditional blues, rock and roll and rhythm and blues through to folk, folk rock, psychedelia and soul,[23] with its influence extending into the 1970s and beyond.[2]

It was in 1963 and 1964 that Birmingham's existing largely underground music scene began to attract national and international attention. The first single to be released commercially by a Birmingham band was "Sugar Baby" by

Small Heath-born songwriting partnership of John Carter and Ken Lewis,[25] had three UK hits in 1965: "Funny How Love Can Be", "That's Why I'm Crying" and "Tossing And Turning".[28]

In early 1964 Dial Records and Decca both released compilation albums showcasing the breadth of the Birmingham music scene.[3] The sleeve notes to the Decca compilation emphasised that Birmingham's characteristic musical diversity was already becoming clear: "But is there a Brum sound? This album surely proves beyond doubt that the answer is no. The reason: all the city's groups, including those heard on this LP, are striving to achieve some degree of individuality."[29]

The most consistently successful Birmingham group of this era was

Gimme Some Loving" – the group's masterpiece and one of the great recordings of the 1960s.[9] This and its 1967 Winwood-written follow up "I'm a Man" were top 10 hits on both sides of the Atlantic[9] selling over a million copies and adding a huge fanbase in America to their existing European popularity.[33]

The Moody Blues were also originally primarily an R&B band, formed in May 1964 with musicians from other Birmingham bands including El Riot & the Rebels, Denny and the Diplomats, Danny King and the Dukes and Gerry Levene and the Avengers.[34] By November they had secured a major international hit with their multi-million selling single "Go Now", which reached number 1 in the UK and number 10 in the US, and whose "soulful, agonized" vocal performance established lead singer Denny Laine as one of the most recognisable voices in British music.[35] Although at this stage still within the R&B tradition, the music of the early Moody Blues already showed signs of the more experimental approach that would characterise their later career, with highly original musical compositions by Laine and Mike Pinder; live four-part harmonies that were far more expansive than anything used by bands such as The Beatles, The Rolling Stones, The Hollies or The Dave Clark Five at the time; and the zen-like repetition and rhythmic complexity of their piano parts prefiguring their future psychedelic style.[36]

The television programme Thank Your Lucky Stars, broadcast by ABC Weekend TV from its studios in Aston between 1961 and 1966, was a major showcase for British pop music of the period,[37] hosting the network television debut of The Beatles on 13 January 1963.[38] The show was best known for its catchphrase "Oi'll give it foive!", which entered nationwide consciousness as sixteen-year-old West Bromwich-born Janice Nicholls gave her verdict on the week's singles in Spin-a-Disc in her broad Black Country accent.[39]

Folk revival

Dave Swarbrick and Dave Pegg performing with Fairport Convention in 1972

Research by folk music scholars recorded a rich tradition of

traditional singers such as Cecilia Costello and George Dunn entirely within an oral tradition, and songs documented by other folk music collectors over the previous 70 years.[40] These included songs of social protest and songs of everyday life referring to places in and around the city,[6] and reflected the area's underlying native rural traditions, its industrial culture and the influence of successive waves of incomers bringing and assimilating musical traditions from elsewhere.[40]

farmworkers.[41] The group's 1962 record Ceilidh at the Crown was the first live folk club recording ever to be released, and in 1965 they were the first group outside the United States to record a Bob Dylan song, when their cover of "The Times They Are a-Changin'" reached the UK top 50.[42] Campbell also ran the Jug o' Punch Folk Song Club, originally at The Crown in Station Street, but later at the Digbeth Civic Hall on Thursday nights.[43] This was arguably the most important folk club in the United Kingdom during the 1960s,[44] and certainly the largest, attracting an audience that regularly reached 500 people a week.[45] Other notable Birmingham folk clubs during the mid-1960s included the Eagle Folk Club at the Golden Eagle on Hill Street and the Skillet Pot Club above the Old Contemptibles on Livery Street.[44]

Joan Armatrading

Two Birmingham musicians from the Ian Campbell Folk Group would become key exponents in the development of folk rock over the next decade through their involvement with the band Fairport Convention, which had formed in London in 1967.[6] The fiddler Dave Swarbrick joined the band in 1969, his knowledge of traditional music becoming the biggest single influence on the following album Liege & Lief,[46] generally considered the most important album both of Fairport Convention as a band and of the folk rock genre as a whole.[47] Swarbrick's former colleague from the Ian Campbell Folk Group Dave Pegg joined as the bass player later in 1969, and by 1972 the two Birmingham musicians were the band's only remaining members, holding the group together over the following years of rapid personnel change.[48]

Singer-songwriter

Peel Sessions,[52] but her commercial breakthrough in Britain was 1976's Joan Armatrading, which reached the top 20 and which included top 10 hit "Love and Affection
".

Nick Drake

Of all of the folk musicians from the Birmingham area, the one with the greatest long-term influence would be

introversion and depression, returning to his parents’ home in Tanworth, from where he was to record his bleak final album Pink Moon.[60] On 25 November 1974 he died in his sleep in Tanworth from an overdose of antidepressants, with the only media coverage being a personal announcement in the Birmingham Post three days later.[61]

Virtually unknown at his death, Drake has since become one of the greatest examples of an artist achieving posthumous fame and influence.

British folk music and of the entire singer-songwriter genre worldwide.[59]

Psychedelia and progressive rock

The Move in 1967

In the late 1960s the extreme eclecticism of Birmingham's musical culture saw the emergence of several highly original bands who would each develop new and distinctive pop sonorities, between them establishing many of the archetypes of the

rock 'n' roll classics.[65] Guitarist Roy Wood was soon persuaded to start writing original material, and his eccentric, melodically inventive songwriting and dark, ironic sense of humour[66] saw their first five singles all reach the UK Top 5.[67] With their sound "placing everything in pop to date in one ultra-eclectic sonic blender",[68] The Move performed across an enormous range of styles, including blues, 1950s rock 'n' roll and country and western[65] with a particularly strong influence from hard-edged rhythmic soul,[69] and with some of their material approaching the sound that would later be identified as heavy metal.[70] Their 1966 single "I Can Hear the Grass Grow" has been credited, alongside near-simultaneous releases by The Beatles and Pink Floyd, with establishing the childlike pastoral vision that would characterise English psychedelia, though Wood's songs were in not in fact LSD-influenced but based on a set of "fairy stories for adults" he had written while still at school,[71] and were intended as "songs about going mad, or just being a bit bonkers".[72] The Move were notorious for their highly confrontational live act, smashing up televisions and setting off fireworks on stage, and for a period featuring a life-sized effigy of Prime Minister Harold Wilson which was torn to shreds over the course of the show.[73]

Carl Palmer performing as part of Emerson, Lake & Palmer

In 1966

Emerson, Lake and Palmer and Asia; developing a drumming style of a speed, dexterity and complexity that completely transcended the more traditional rock drumming of artists like Keith Moon, John Bonham or Charlie Watts.[76] Also performing in the style later identified as freakbeat were The Idle Race, the most important Birmingham band of the 1960s not to achieve significant commercial success, who formed from the remains of The Nightriders in 1966, after the departure of Roy Wood and Mike Sheridan led to their replacement by a 19-year-old Jeff Lynne.[2] By 1967 Lynne was clearly the band's leader, shaping its sound and direction and writing its original material.[77] Their 1968 debut album The Birthday Party gained critical recommendations from musical figures as diverse as The Beatles, Marc Bolan, Kenny Everett and John Peel, but little commercial auccess, being too ambitious to gain mass popularity.[2] When their more accessible 1969 follow-up Idle Race also failed to reach the charts Lynne left to join The Move.[78]

Steve Winwood performing with Traffic

Traffic introduced musical textures and layers previously unknown to rock through their multi-instrumental line-up and their incorporation of jazz, folk and Indian influences, becoming one of the most successful bands of the early seventies internationally, with four US Top 10 albums.[79] The band was formed at The Elbow Room in Aston in April 1967 when Steve Winwood decided to quit The Spencer Davis Group at the height of their success to pursue more adventurous musical directions, joining together with guitarist Dave Mason and drummer Jim Capaldi from The Hellions and flautist and saxophonist Chris Wood from Locomotive.[80] Their first two singles "Paper Sun" and "Hole in My Shoe" highlighted the groups instrumental virtuosity and reached the UK Top 5.[81]

The Electric Light Orchestra in 1978.

Also in the late 1960s, there were psychedelic rock bands, such as Velvett Fogg a cult British psychedelic rock band. Tony Iommi was a member in mid-1968, but soon left to form Black Sabbath. Their lone eponymous album was released in January 1969, and re-released on CD by Sanctuary Records in 2002. Also Bachdenkel, who Rolling Stone called "Britain's Greatest Unknown Group".

In the 1970s members of The Move and The Uglys formed the Electric Light Orchestra and Wizzard.

Birmingham-based tape recorder company, Bradmatic Ltd helped develop and manufacture the

Moody Blues
worked for that company and it is one of the reasons why he introduced that instrument in the band, giving its very typical sound.

Early heavy metal

Marshall Stacks had pushed the boundaries of loud and aggressive blues to new extremes.[94]

Black Sabbath

Critics disagree over which band can be thought of as the first true heavy metal band, with American commentators tending to favour Led Zeppelin and British commentators tending to favour Black Sabbath.[95] Led Zeppelin formed in 1968 and was made up of two London-based musicians, one of whom was in The Yardbirds, and two from the Birmingham-based Band of Joy, marking an explicit combination of the musical influences of the two cities.[96] The Yardbirds had extended the instrumental textures of the blues through extended jamming sessions,[97] but it was the influence of the Midlands-based musicians – drummer John Bonham and vocalist Robert Plant – that would provide Led Zeppelin's harder edge and focus, and bring a more eclectic range of stylistic influences.[98] While it remained based in blues and rock and roll conventions, the music of Led Zeppelin blended these with extreme volume and a highly experimental melodic and rhythmic approach, forging a much harder and heavier sound.[99] This combination of intensity and finesse in Led Zeppelin's output redefined both mainstream and alternative rock music for the 1970s,[100] particularly in the United States, where they remain the fourth-best-selling act in music history.[101]

power chords, down-tuned guitars and crushingly high volume that would come to characterise heavy metal.[105] Paranoid, their second album, refined and focused this model, and in the process "defined the sound and style of heavy metal more than any other album in rock history".[106] Paranoid also marked Black Sabbath's commercial breakthrough, reaching number 1 in the UK album charts and number 8 in the US.[107] Black Sabbath's influence is universal throughout heavy metal and its many subgenres,[108] but their musical significance extends well beyond metal: their discovery that guitar-based music could be fundamentally alienating would lead directly to the sound of the Sex Pistols and the birth of punk;[109] and their influence would be felt by bands as diverse as the post-punk Joy Division, the avant-garde Sonic Youth,[110] the Seattle-based grunge bands Nirvana, Mudhoney, Soundgarden and Alice in Chains,[111] Californian stoner rock,[112] and even the rap of Ice-T,[109] Cypress Hill[113] and Eminem.[114]

Also crucial to the emergence of heavy metal as an international phenomenon were

traditional heavy metal of the 1970s and the various genres of extreme metal that would follow, their sound laying the basis for the speed metal, death metal, thrash metal and black metal of the 1980s.[86][116]

Ska and reggae

Birmingham's booming post-war economy made it the main area alongside London for the settlement of

dubplates,[122] often going to great lengths to disguise the source of their records.[123]

Toaster Macka B

Publicity for blues parties was largely through word of mouth or over pirate radio stations and generally did not include precise details of addresses or locations, so sound systems attracted loyal but highly localised followings.

Astro who later became part of UB40;[130] and Wassifa, which featured Macka B, the most influential British toaster of the 1980s.[131] The founders of the reggae band Eclipse, who met at a blues party, later recalled "Blues would took place everywhere. You only had to go out in Lozells or down the Soho Rd, there was loads going on, you could stand and listen to the music coming out of the houses, pubs and clubs."[123]

During the 1960s and 1970s, the West Midlands developed a culture of

loafers,[137]

hip-hop.[141] Their 1978 debut album Handsworth Revolution stood out from its peers in its political commitment[144] and is still considered one of the landmark releases of British reggae.[141]

The reggae subgenre lovers rock, would often be heard at blues parties during the 1970s and 1980s. The emotive Lovers rock song "Men Cry Too" by Beshara, is still considered to be one of the biggest and most popular songs within the subgenre. Later, Musical Youth, UB40 (the first truly mixed-race UK dub band), and Pato Banton found commercial success. AllMusic described UB40's edgy, unique take on reggae that combined British and Jamaican influences as "revolutionary, their sound unlike anything else on either island".[145]

The Specials, from nearby Coventry, rose to prominence on the Birmingham music scene in 1978.

In the late 1970s, under the influence of punk rock, the casually multi-ethnic ska culture emerged into a coherent movement called

Gangsters", which quickly became an underground hit[147] and started a run of seven consecutive top 10 hits culminating in 1981's "Ghost Town".[148] With its eerie wailing noises, stabbing brass, doom-laden middle eastern musical motifs and dub-style breaks laid over a loping reggae beat, "Ghost Town" marked the birth of the tradition of sinister-sounding British pop that would later lead to the rise of trip hop and dubstep.[149] More significant still were the song's lyrics: the day before "Ghost Town" reached number 1, Britain's inner cities erupted in rioting,[150] and the song's despairing portrait of the collapse of Britain's cities come to symbolise the era, with its nihilistic line "can't go on no more ... the people getting angry" seeming retrospectively prophetic.[151]

Even more eclectic in their influences were Handsworth's

Saxa was a 60-year-old Jamaican who had played with first-wave ska artists such as Prince Buster and Desmond Dekker and who was recruited to the band after being discovered playing jazz in a Handsworth pub.[153]

Punk rock

Birmingham's earliest

glam-rock, American garage rock and German krautrock.[154] The earliest were the Swell Maps, formed in 1972 by brothers Epic Soundtracks and Nikki Sudden, inspired by T. Rex, The Stooges and Can.[155] The group produced hours of home recordings on reel-to-reel tapes over the course of the early and mid 1970s[156] with Sudden later recalling that when he first saw the Sex Pistols in April 1976 "my reaction was that they sounded the same as what we were doing".[157] Swell Maps "took punk's no-rules, do-it-yourself, destruction-of-rock promises literally" and "proceeded to create some of the most challenging, foreign, distinctive, and truly rebellious music of recent decades".[158] Although never more than a cult success, they were to be highly influential in the emergence of the next generation of alternative rock, with Dinosaur Jr., REM and Pavement all citing the group as an influence, and Sonic Youth's Thurston Moore writing that "The Swell Maps had a lot to do with my upbringing".[154]

glam-rock.[159] Although only loosely connected with punk they were considered to be Birmingham's finest live band of the era[160] and built a strong local following, becoming the subject of a legendary epidemic of graffiti throughout the city and surrounding area[161] and regularly selling out Friday nights at the city's leading punk venue Barbarella's by the end of 1978.[162] Despite releasing a single in 1979 and appearing on BBC Television in 1980 they attracted little attention beyond the city and broke up a year later,[162] but in carrying the influence of glam through the punk era they would influence Martin Degville, Boy George, Duran Duran and the birth of Birmingham's New Romantic scene.[163]

The Midlands' most important early punks were

Peel Sessions eventually released in 2004 as the compilation album The Prefects are Amateur Wankers.[169] Distancing themselves form the wider punk movement – claiming "Bands like The Fall and Subway Sect are all dead serious... and we're a laugh"[170] – 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."[171] 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."[172]

The release of the Sex Pistols' first single "

country and western music at punk venues like London's 100 Club.[181]

Birmingham's

Charged GBH were, alongside Stoke-on-Trent's Discharge and Edinburgh's The Exploited, one of the three dominant bands of the second wave of British punk,[182] 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".[183] G. B. H.'s influence helped codify the raw sound that would become known as street punk,[184] becoming a prime influence on the mid-1980s emergence of the thrash metal bands Metallica and Slayer.[185]

Post-punk

During the late 1970s and early 1980s Birmingham was the home of a "vibrant but infamously fragmented and undervalued" post-punk scene.[7] While other English cities produced identifiable scenes with unified sounds, such as the synth-pop pioneers of Sheffield 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.[186]

Roland Gift of Fine Young Cannibals

Refusing to conform to a conventional post-punk sound,

Peel Session, but failing to break through to widespread commercial success.[192] Swans Way achieved greater recognition for their highly individual and experimental sound, influenced by jazz, soul and French orchestral pop,[193] with their 1984 single "Soul Train" reaching the Top 20 and becoming a classic of its day.[194]

The most successful of Birmingham's eclectic soul- and jazz-influenced post-punks were Fine Young Cannibals, established in 1984 by two former members of The Beat – guitarist Andy Cox and bassist David Steele – who recruited Sparkhill-born former punk Roland Gift as a vocalist.[195] The group's self-titled debut album mixed the influence of English pop, American soul and European dance music and met critical acclaim and some commercial success within the UK,[196] but it was their 1989 second album, The Raw & the Cooked that propelled them to international stardom, reaching number 1 in the UK, the US and Australia and producing two US number 1 singles. The Raw & the Cooked was a "melting pot of styles",[197] 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.[198] to form "the perfect balance between artistic and commercial, organic and synthetic, past and present".[197]

New Romantics

The genesis of Birmingham's

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.[200] By 1977 Martin Degville 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.[201] Boy George 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."[199]

As the 1980s arrived, the

The Au Pairs and The Bureau
also emanated from the city's music scene at this time.

The

Neds Atomic Dustbin
.

Bhangra

In the 1960s Birmingham was the birthplace of modern

Indian diaspora worldwide from Los Angeles to Singapore.[13]

The origins of British bhangra lie with

cassette through local pubs and electrical goods shops.[205] 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 Handsworth, bands such as Bhujhangy Group continued to experiment with integrating western music such as guitars into their sound.[208] 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;[209] while Chirag Pehchan, another Birmingham bhangra band formed the late 1970s, combined bhangra with reggae, ragga, early hip-hop, soul, rock, and dance influences.[210] 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 in London.[211]

The late 1980s and early 1990s marked the heyday of the grassroots bhangra scene.[212] 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,[213] successful bhangra bands could sell up to 30,000 cassettes a week, often outselling mainstream top 40 acts.[214] 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.[212] A network of late night and weekend events at local nightclubs was supplemented by "All-dayers" that could appeal to younger fans.[215] 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. [216] Handsworth's Soho Road in particular developed a global cultural resonance, symbolising the specific cultural social and political space occupied by British South Asians.[216]

The city's cultural diversity also contributed to the blend of bhangra and ragga pioneered by Apache Indian 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

Bollywood film industry.[219]

Birmingham's importance in worldwide Bhangra is partly a result of its widespread connections to other areas of South Asian culture, both on the

Indian Diaspora, and partly the result of its concentration of musical infrastructure, with an extensive web of record companies, distributors, recording artists, DJs and marketing activity.[203] 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."[220]

Gospel, soul and contemporary R&B

The Singing Stewarts, Britain's first major Gospel group

The

PYE Records.[224] 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."[225] 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 Free at Last, which would prove groundbreaking for UK Gospel music.[225] The Majestic Singers were instrumental in developing the culture of Gospel music nationwide, promoting the formation groups in London, Manchester and Aberdeen as well as Birmingham.[226]

Ruby Turner

During the 1980s the West Midlands lay at the centre of the development of a recognisably

Black British female artist of all time, and the first to have six consecutive Top 20 hits.[229] 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.[230] Also brought up in Handsworth was Ruby Turner, the granddaughter of a noted Jamaican Gospel singer, who moved from Montego Bay to Birmingham at the age of nine.[231] 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.[232] Over the next 11 years she got 8 singles in to the UK charts,[233] 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.[234]

Laura Mvula at Glastonbury in 2013

Spencer Davis Group and Traffic, returned as a solo artist in the 1980s with a hugely successful synthesiser-driven blue-eyed soul sound.[235] His 1980 album Arc of a Diver was a platinum seller in the United States[236] and its first single "While You See a Chance" was also a major international hit.[237] He followed this with two further multi-platinum selling records over the course of the decade – 1986's Back in the High Life and 1988's Roll with It – and series of singles between 1986 and 1990 that all reached number 1 in the American singles charts, including "Higher Love", "The Finer Things", "Back in the High Life Again", "Roll With It" and "Holding On".[238]

The most notable Birmingham soul artist of the early 21st century was

armed robbery and a half-brother later convicted of a gangland murder.[239] Signed to a record deal at 15 after sending an a cappella recording to representatives of Parlophone, 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.[240] It was her second album Thank You, released after taking time away from music to raise her first daughter, which catapulted her to stardom,[241] being accompanied by three Top 5 hit singles and seeing her win four MOBO Awards and the Q Award for "Best Single".[242] Thank You stood out from other contemporary British R&B albums in its acknowledgment its British cultural roots and context,[243] and included the title track "Thank You", a cathartic song about surviving domestic violence that peaked at number 2 in the UK charts.[244]

retro-futurists Broadcast as well as the Gospel sound inherited from her time with Black Voices, creating a "sonic space all of her own"[247] that has been dubbed "Gospeldelia".[248]

Grindcore and extreme metal

In the mid 1980s

cassette tapes internationally,[256] and first performed in public in April 1981.[257] Bullen met Justin Broadrick in Birmingham's Rag Market in 1983[258] and the two started making electronic and industrial music while Napalm Death temporarily ground to a halt.[259] The band resumed activities in 1985 with Broadrick on guitar, increasingly coming under the influence of thrash metal acts such as Celtic Frost, and performing at The Mermaid for the first time in October 1985.[251] Napalm Death soon became almost the house band at the Mermaid, with their growing local following ensuring good crowds for visiting bands.[260]

Justin Broadrick performing with industrial metal pioneers Godflesh

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".

indie Top 10[269] and the textures of its "unrelenting, intense sound" would attract the attention of exponents of wider experimental musical styles such as ambient music and free jazz.[268]

Justin Broadrick initially left Napalm Death in 1986 to play drums with the Dudley-based grindcore band Head of David, but again grew to feel increasingly constrained by their one-dimensional approach.[270] In 1988 he left to form his own band Godflesh, whose first two releases – the 1988 EP Godflesh and the 1990 album Streetcleaner – sounded unlike any other music up to that point, establishing the new genre of industrial metal from the influences of heavy metal and the more sonically experimental industrial music, and paving the way for the later mainstream success of more accessible examples of the genre such as Nine Inch Nails.[271]

In 1991 Mick Harris also left Napalm Death to pursue more experimental musical directions, teaming up with Nik Bullen to form

ambient dub.[274] Harris also joined up with New York City-based musicians Bill Laswell and John Zorn to form Painkiller, whose sound mixed grindcore and free jazz.[275]

Hip hop and Dance music

The hip hop scene dates back to at least 1980, and has produced popular performers like Moorish Delta 7 and Brothers and Sisters.

When hip hop performer

rappers and hip hop DJs including Moorish Delta 7 Elements, Juice 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

Carling Academy Birmingham.[citation needed] 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. Acid house 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 publicise 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

Andy Weatherall and the Scratch Perverts
to the city.

Electronic artists include

Mistys Big Adventure and Avrocar
.

Techno

DJ and producer Surgeon, one of the pioneers of techno's Birmingham sound

The Birmingham-based journalist, DJ and record collector

Camp Hill, that would be instrumental in introducing Detroit techno to British and European audiences over the following years.[277] The importance of Rushton to the emergence of techno was acknowledged in 2011 by Detroit pioneer Derrick 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."[278]

Over the following decade Birmingham would become synonymous with British techno[279][280] and established alongside Detroit and Berlin as one of the major centres of techno worldwide[281] as the home of the distinctive Birmingham sound, 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.[280] Most closely identified with the city's Downwards Records label and its local producers Regis, Surgeon and Female, Birmingham techno's characteristic hard, fast and uncompromising style was influenced as much by the local industrial music scene that developed around Mick Harris of Napalm Death and Martyn Bates of Eyeless in Gaza as it was by the pioneers of American techno.[282] Downwards would become one of the most important labels in world techno,[283] 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 Berghain in Berlin.[284]

In 2002 Regis went on to form

death rock.[286] Sandwell District would in turn to create a major shift in world techno and influence another generation of techno musicians.[287] 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."[288]

Away from the style that bears the city's name,

Germ 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".[289] Originally a solo project of the Birmingham-born musician Tim Wright, Germ later developed into a collaboration with other musicians including trombonist Hilary Jeffrey, double-bassist Matt Miles, and producer John Dalby.[289] In 1998 Wright and Jeffreys became founder members of the Birmingham-based spin-off project Sand[290] which sought to combine electronic music with organic instrumentation.[291] Wright has also released more dancefloor focused work as Tube Jerk.[292]

Ambient dub

reverb techniques.[296] Oscillate incorporated these new sounds with surrounding visual effects to create what it called "heliocentric atmospheres",[297] becoming "The club of the moment, making waves far beyond the Midlands".[298]

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.[299] The group most closely associated with the club was Higher Intelligence Agency, 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.[300] In 1993 they released their debut album Colourform and began to take their experimental live act around the country.[300] Also associated with Beyond Records and performing regularly at Oscillate[297] were Leamington Spa-based Banco de Gaia, who built on an ambient dub foundation with samples and elements from Eastern and Arabic music.[301]

nu-jazz.[304] They later also launched the Different Drummer sound system, which toured worldwide.[304]

Former

isolationism, dropping the drums and rhythm loops that characterised Scorn to focus entirely on looped tones and evolving textures, with songs drifting in and out as slow, steady progressions of tones, chimes and drones.[307] Harris also released ambient and dub influenced albums under his own name in collaboration with musicians such as New York City's James Plotkin,[308] and Bill Laswell[309] and Italy's Eraldo Bernocchi.[310]

Jungle, drum, bass and garage

Goldie

hip-hop.[319]

The Streets

Birmingham's

jump-up.[324]

The most notable act to emerge from Birmingham's

grime and 2-step with the English observational songwriting tradition of The Kinks and The Specials,[327] while featuring a characteristically Brummie self-deprecating humour.[328] His debut album was declared to be the album of the 2000s by The Guardian, who commented that it was "impossible to imagine how that decade might have sounded without it",[327] and he would make four further albums over the following years, including the 2004 concept album A Grand Don't Come for Free and his final 2011 album Computers and Blues
.

Retro-futurism

While the music of the rest of Britain during the 1990s was dominated by the straightforward

National Public Radio described Trish Keenan as "an ambassador between the parallel worlds of what happened and what might have been", noting that she was "interested in memory less for nostalgic reasons and more for the world and lives it distorted and rewrote."[333]

Birmingham's divergence from the national mainstream was partly driven by the city's inherently eclectic musical culture. Rosie Cuckston of Pram, originally from Yorkshire, recalled how "coming to Birmingham, you suddenly realise that there's life outside of your pop or punk, and other influences start to feed in".[332] An early review of Broadcast from 1996 described them as "laughing in the face of genres".[334] The architectural critic Owen Hatherley has also linked the scene to Birmingham's unique recent history, as the booming economy and futuristic rebuilding of the postwar era gave way to the economic collapse and melancholic cityscape of the 1980s.[335]

The roots of Birmingham's retro-futurist scene lay in the mid 1980s. The club night

analogue synthesisers sequenced live on stage – "We were kind of doing this mix of Kraftwerk, The Walker Brothers and Marc Bolan ... it was synthesiser glam rock"[337]

library music of Basil Kirchin, the children's music of Carl Orff and the soundtracks of Czechoslovakian surrealist cinema, while continuing to produce identifiable pop songs.[342] Although they largely eschewed mainstream commercial success, they acquired a large and international cult following and were cited as an influence by artists as diverse as Blur, Paul Weller and Danger Mouse.[343]

Indie and post-punk revival

Editors were the second-biggest British band of the first decade of the 21st century

Mercury Music Prize, and both this album and its 2006 follow-up An End Has a Start sold platinum.[citation needed
]

Guillemots

Also nominated for the Mercury Prize in 2006 were

Mojo Magazine as marking "the rebirth of sweeping, experimental British rock music",[349] combining influences from indie pop, jazz, samba, swingbeat and psychedelia,[350] on an album that featured an orchestra, a colliery band, a guitar being played with an electric drill, a brass section and a song described by Stylus Magazine as "something approaching drum 'n' bass as played live and acoustic by idiot savants".[351] Dangerfield belongs in the tradition of genre-defying Birmingham bands such as the Electric Light Orchestra and Dexys Midnight Runners that combined experimental music with catchy pop melodies,[352] describing his carnivalesque vision: "I wanted to be in a band that was like a travelling circus, I didn't want to be in a band where everybody looks the same and listens to the same music... I wanted to get a band together that would be totally different, a bunch of misfits."[349]

Peace in 2013, at the forefront of the emergence of the B-Town scene

Another Birmingham band whose music is characterised by complex arrangements and unusual instrumentation is Shady Bard[353] whose lo-fi folk-influenced indie music is inspired by its founder Lawrence Becko's synesthesia.[354]

Since 2012 the Digbeth-based B-Town scene has attracted widespread attention, led by bands such as Peace and Swim Deep, with the NME comparing Digbeth to London's Shoreditch, and The Independent writing that "Birmingham is fast becoming the best place in the UK to look to for the most exciting new music".[355] Although many of the scene's leading bands don't sound very similar,[356] critics have identified a common element as how the bands "all incorporate a slightly flippant attitude to their music, not concentrating on polishing their records to perfection, but playing for the joy of creating music and for entertaining their audiences."[357]

List of notable historical musical artists

Successful Birmingham singer-songwriters and musicians include

Peter Overend Watts and Dave Mason
.

See also: Category:Musical groups from Birmingham, West Midlands and List of songs about Birmingham

Contemporary venues, festivals and organisations

National Indoor Arena

Birmingham's current music venues – large and small – include Symphony Hall at the ICC, The

Barfly and the Hibernian. Leftfoot is a soul jazz and funk night that has featured on BBC Radio 1.[citation needed
]

Party in the Park was Birmingham's largest annual music festival, at Cannon Hill Park, where up to 30,000 revellers of all ages listen to popular chart music. Now it has become a day for the unsigned of all genres and was brought back to life in 2013 as unsigned acts decided it was time for them to do a day of their own. The group Birmingham Promotions, a non-profit group made up of musicians, agents and promoters have come together to invest their own time and money into a day for the whole family. There is also Moseley Folk Festival (since 2006), which takes place in Moseley Park and mixes new with established folk acts.[citation needed]

Supersonic Festival has been in Birmingham annually since 2003,[358] hosting experimental and unusual music, with bands such as The Pop Group, Richard Dawson, Wolf Eyes and Mogwai.[359][360]

A short lived music festival was Gigbeth, first piloted in March 2006 and now annual on the first weekend of November in Digbeth. It was a festival celebrating local independent music from the West Midlands.[citation needed]

Notable dance music record labels include

Altern8 fame), Different Drummer, Urban Dubz Records, Badger Promotions, Jibbering Records, Iron Man, Earko, FHT[1] and Munchbreak Records. Punch Records, in the Custard Factory, run street dance and DJ training courses.[citation needed
]

While there is a thriving music scene in the city and a number of rehearsal studios such as Robannas, Rich Bitch and Madhouse (many of which have their own demo recording studios) there are very few working at a professional level. Until Circle Studios opened its 3,000-square-foot (280 m2) facility in 2007, aside from private studios in the hands of UB40 and Ocean Colour Scene and smaller studios such as Artisan Audio, there was no high-end recording studio operating in Birmingham.[citation needed]

Independent shops in the city selling

Afro-Caribbean barbers.[citation needed
]

Birmingham was the birthplace of Street Soul Productions, a record label established in 2005, which became a community organisation in 2008, and since then has concentrated on music workshops and events alongside online broadcasting. Street Soul Productions is aimed at an Alternative UK Hip Hop. It embraces a wide range of different styles, and incorporating emcees, singers, DJs, Producers and session musicians.[citation needed]

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Bibliography

External links

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