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Madchester - Commercial success |  | Madchester - Commercial success: Encyclopedia II - Madchester - Commercial success |  | Due to its limited promotional resources and its predominantly anti-commercial ethos, indie music had, for the most part, represented a specialist market during the 1980s. For example, The Smiths, probably the most prolific and successful indie band of the mid-80s, had struggled to make the UK top ten singles chart.
It's in the context that the chart success of Madchester bands should be measured. It should not be seen as confusing that on the one hand a review of the UK music press of the time would give the impression that Madcheste ...
See also:Madchester, Madchester - Before Madchester, Madchester - Madchester artists' early careers, Madchester - Madchester begins, Madchester - Baggy, Madchester - Madchester hits the big time, Madchester - Commercial success, Madchester - Decline, Madchester - Legacy, Madchester - Musical legacy, Madchester - Impact on Manchester, Madchester - Discography, Madchester - Key Madchester recordings, Madchester - Madchester-era best of compilations |  | | Madchester, Madchester - Baggy, Madchester - Before Madchester, Madchester - Commercial success, Madchester - Decline, Madchester - Discography, Madchester - Impact on Manchester, Madchester - Key Madchester recordings, Madchester - Legacy, Madchester - Madchester artists' early careers, Madchester - Madchester begins, Madchester - Madchester hits the big time, Madchester - Madchester-era best of compilations, Madchester - Musical legacy |  | |
|  |  | Madchester: Encyclopedia II - Madchester - Commercial success
Madchester - Commercial success
Due to its limited promotional resources and its predominantly anti-commercial ethos, indie music had, for the most part, represented a specialist market during the 1980s. For example, The Smiths, probably the most prolific and successful indie band of the mid-80s, had struggled to make the UK top ten singles chart.
It's in the context that the chart success of Madchester bands should be measured. It should not be seen as confusing that on the one hand a review of the UK music press of the time would give the impression that Madchester was an all-conquering cultural force, whilst on the other hand, sales of records by the bands involved seem decent but unspectacular by the standards of 2005. There is no doubt that the scene broke new commerical ground during 1990.
"Step On" and "Kinky Afro" by the Happy Mondays both made number 5 in the singles charts, whilst James scored the biggest Madchester hit, making number 2 in 1991 with a re-recording of "Sit Down". In the album charts, the Happy Mondays made number 4 with Pills 'n' Thrills and Bellyaches, and the Inspiral Carpets got to number 2 with Life. The Charlatans were the only Madchester band to take the number 1 spot, with the album Some Friendly in the autumn of 1990.
Outside the UK, the success of Madchester was limited, although some releases gained recognition in specialist charts around the world. In the US, the albums The Stone Roses, Pills 'n' Thrills and Bellyaches and Some Friendly reached the lower echelons of the US album chart. The Happy Mondays toured the US in 1990 and were alone amongst Madchester bands in troubling the Billboard 100, with "Step On" reaching number 57.
Other related archives1980s, 1990s, 808 State, A Guy Called Gerald, Acid House, Alan "Reni" Wren, Alanis Morissette, Alexandra Palace, Amsterdam, BBC, BBC2, Battle of the Bands, Bernard Sumner, Birmingham, Blur, Britpop, Bummed, Cambridge, Candy Flip, Chemical Brothers, Cheshire, City centre, Clint Boon, Colchester, EP, Factory Records, Flowered Up, Fontana, Frankie Knuckles, Gary "Mani" Mounfield, Gay Village, Glasgow, Greater Manchester Police, Hammond organ, Happy Mondays, Haçienda, Haçienda nightclub, Ian Brown, Ibiza, Inspiral Carpets, James, John Cale, John Leckie, John Peel, John Squire, Liverpool, London, Longsight, MC Tunes, Manchester, Manchester G-Mex, Mark "Bez" Berry, Martin Hannett, Melody Maker, Mersey, Mint Royale, Morrissey, Moss Side, NME, New Fast Automatic Daffodils, New Order, Noel Gallagher, Northern Quarter, Northside, Northwich, Oasis, Ocean Colour Scene, Oldham, Oldham Street, Oxford, Paul, Peter Hook, Pills 'n' Thrills and Bellyaches, Reni, Rough Trade Records, Ruthless Rap Assassins, Saint Etienne, Salford, Sean O'Hagan, Seattle, Second Coming, Shaun Ryder, Silvertone Records, Sire Records, Some Friendly, Soup Dragons, Spike Island, Squirrel and G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out), Stone Roses, The 8.15 From Manchester, The Charlatans, The Fall, The Farm, The Madchester Rave On EP, The Mock Turtles, The Smiths, The Stone Roses, Tim Booth, Tim Burgess, Timperley, Tom Hingley, Top of the Pops, UK, University of Manchester, Vince Clarke, Voodoo Ray, Wales, Wogan, Woodstock, Yes Please!, acid house, alternative, baggy, bandwagon, big beat, city centre, dance music, debut album, disco, ecstasy, electro, funk, grunge, hip-hop, hip-hop music, home city, house music, indie, indie music, marketing, media hype, music scene, psychedelia, rave, remix, retro, roadie, shoegazing, south of England, surrounding administrative areas, wah-wah
 Adapted from the Wikipedia article "Commercial success", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki |
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