This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since January 2009. It may require cleanup to meet Wikipedia's quality standards. Tagged since June 2009.

In music, independent music, often shortened to indie music or "indie" is a term used to describe independence from major commercial record labels or their subsidiaries, and an autonomous, Do-It-Yourself approach to recording and publishing.

Independent record labels[link]

Independent labels have a long history of promoting developments in popular music, stretching back to the post-war period in the United States, with labels such as Sun Records, King Records, Stax, etc.^[1]

In the United Kingdom during the 1950s and 1960s, the major record companies had so much power that independent labels struggled to become established. Several British producers and artists launched independent labels as outlets for their work and artists they liked, but the majority failed as commercial ventures or were swallowed up by the majors.^[1]

In the United States, independent labels and distributors often banded together to form organizations to promote trade and parity within the industry. The National Academy of Recording Arts and Sciences (NARAS), famous as the organization behind the Grammy Awards, began in the 1950s as an organization of 25 independent record labels including Herald and Ember Records, and Atlantic Records. The 1970s heralded the founding of the National Association of Independent Record Distributors (NAIRD), which became A2IM in 2004. Smaller organizations also existed including the Independent Music Association (IMA), founded by Don Kulak in the late 1980s. At its zenith it had 1,000 independent labels on its member rosters. The 1990s brought Affiliated Independent Record Companies (AIRCO), whose most notable member was upstart punk - thrash label Mystic Records and The Independent Music Retailer's Association (IMRA), a short-lived organization founded by Mark Wilkins and Don Kulak. The latter is most notable for a lawsuit involving co-op money it filed on behalf of its member Digital Distributors .^[2] in conjunction with Warehouse Record Stores. The adjudication of the case grossed $178,000,000 from the distribution arms of major labels. The proceeds were distributed amongst all plaintiffs.

During the punk rock era the number of independent labels grew.^[1] The UK Indie Chart was first compiled in 1980, and independent distribution became better organized from the late 1970s onwards.^[3] From the late 1970s into the 1980s certain UK independent labels (such as Rough Trade, Cherry Red, Factory, Glass and Creation) came to contribute something in terms of aesthetic identity to the acts whose records they released.

In the late 1980s, Seattle-based Sub Pop Records was at the center of the grunge scene. In the late 1990s and into the 2000s as the advent of MP3 files and digital download sites such as Apple's iTunes changed the recording industry, an indie Neo-soul scene soon emerged from the urban Underground soul scenes of London, NYC, Philadelphia, Chicago and L.A., primarily due to commercial radio and the major label's biased focus on the marketing, promotion & Airplay of Pop and hip hop music during this period. Independent Labels such as Dome Records & Expansion Records in the U.K. and Ubiquity Records in the U.S. and a plethora of others around the world as well as various "online stores" such as www.ionsonic.com, www.dustygroove.com, www.soultracks.com, etc., support the Nu soul movement today.

Independent artists and technology[link]

Internet technology allows artists to introduce their music to a potentially enormous audience at low cost without necessarily affiliating with a major recording label.^[4] The design of digital music software encourages the discovery of new music. This, in turn, creates many opportunities for independent bands. Royalties from digital services could prove to be an important source of income. If an artist has already paid to record, manufacture, and promote their album, there is little to no additional cost for independent artists to distribute their music online.^[5] Digital services offer the opportunity of exposure to new fans and the possibility of increased sales through online retailers. Artists can also release music more frequently and quickly if it is made available online. Additionally, artists have the option of releasing limited edition, out-of-print, or live material that would be too costly to produce through traditional means. No limit is the largest independent record company in the US with sales of over 75 million records.

Some independent artists have used the Internet (and an established fan base) to successfully fund new recording projects, relying on services like ArtistShare or using their own sites. For instance, singer-songwriter Jill Sobule released "California Years" in 2009, an album for which she'd raised nearly $90,000 online. Sobule explained her telethon-like fundraising approach thusly: "The contribution levels went from $10, which got you a digital download of the record, to $10,000, which gave you the chance to sing on the record." (One generous donor did contribute at the $10,000 level.)^[6]

With the arrival of newer and relatively inexpensive recording devices and instruments, more individuals are able to participate in the creation of music than ever before. Studio time is extremely expensive and difficult to obtain. The result of new technology is that anyone can produce studio-quality music from their own home. Additionally, the development of new technology allows for greater experimentation with sound.^[7] An artist is able to experiment without necessarily spending the money to do it in an expensive studio. A complete proof of concept that a whole 'Do it yourself' CD production process – from beginning to end (including: recording, mixing, graphics, page layout, prepress, etc.) – can compete with professional quality,^[8] using exclusively Free Software, was made by the Austrian band 'XBloome' in November 2010.^[9]

Most artists maintain their own websites as well as having a presence on sites such as Myspace.com, Audimated, or 'Indie Music Highway'. Technological advances such as message boards, music blogs, and social networks are also being used by independent music companies to make big advances in the business.^[10] Some sites rely on audience participation to rate a band, allowing listeners to have a significant impact on the success of a band. This eliminates new talent search and development, one of the most costly areas of the music business. Other sites allow artists to upload their music and sell it at a price of their choosing. Visitors to the site can browse by genre, listen to free samples, view artist information, and purchase the tracks they want to buy.^[11] Acts such as Wilco have chosen to make their new albums available for streaming before they are released.^[12]

Many bands have chosen to forego a record label and instead market and distribute their music only on the Internet. Digital marketing firms such as CDBaby, Magnatune and iTunes offer opportunities such as podcast creation and promotion and video hosting. In the case of digital distribution, musicians lend a company the right to distribute their music. The contract is often non-exclusive, and the rights to the music generally remain with the artist. The non-exclusivity of the contract allows many artists to have an online presence while continuing to sell directly through their local independent music stores.

A more recent trend is seen in artists who give their music away for free, such as the "record label" Quote Unquote Records, featuring bands such as Bomb the Music Industry!,^{[citation needed]} as well as musicians like Radiohead, with their 2007 album In Rainbows,^[13] The Go! Team with their single "Milk Crisis"^{[citation needed]} and Trent Reznor of Nine Inch Nails with the 2008 albums Ghosts I–IV^[14] and The Slip.^[15]

Going major versus staying independent[link]

Many acts choose to go from an independent label to a major label if given the opportunity as major labels have considerably more power and financial means to promote and distribute product; thus increasing the chances of greater success. Some acts, however, may choose not to go to a major label if given the opportunity as independence generally offer more freedom. Similarly, others become independent label acts, after having already experienced recording on a major label, either due to their own accord or having been dropped from a major label. Bradley Joseph requested to be let go from his major label deal with Narada/Virgin Records and subsequently became an independent artist. He states "As an independent, business is a prime concern and can take over if not controlled.^[16] A lot of musicians don't learn the business. You just have to be well-rounded in both areas. You have to understand publishing. You have to understand how you make money, what's in demand, and what helps you make the most out of your talent.^[17] But some artists just want to be involved in the music and don't like the added problems or have the personality to work with both". Joseph suggests newer artists read and study both courses and pick one that best suits their own needs and wants.^[18] Another option may be for an act to start its own independent label and release its own music. However, it should be pointed out that this means the artist must also become a business owner in order to run the label, and that leaves less time to focus on the aspect of being a performer. Established independent labels find it challenging to get albums into stores or played on the radio, so it is unlikely an unknown act releasing on their own label will have greater success. An act that has never released any product or does not have a solid following may find it daunting to release an album on their own record label and have any level of success.

If an act moves to a major label from an independent, they are awarded greater opportunity for success, but it does not guarantee success. About one in ten albums released by major labels make a profit for the label.^[19] Some artists have recorded for independent record companies for their entire careers and have had solid careers. Independent labels tend to be more open creatively, however, an independent label that is creatively productive is not necessarily financially lucrative. Independent labels are often operations of one, two, or only half a dozen people, with almost no outside assistance and run out of tiny offices.^[20] This lack of resources can make it extremely difficult for a band to make revenue from sales. It can also be more difficult for the indie label to get its artists music played on radio stations around the country when compared to the pull of a major label. A testament to this fact could be that since 1991, there have only been twelve independent label albums that have reached the number one spot on the US Billboard 200 Album Chart. There have, however, been dozens of independent albums that have reached the top 40 of the US Album Chart.

Some major labels have created an opportunity for independent artists to be featured on a distribution/marketing CD project with no strings attached in an effort to help boost awareness of the Independent Music community^{[citation needed]}.

The difference among various independent labels lies with distribution; this is probably the most important aspect of running a label. Examples are:

Independent label that signs and distributes its own acts. These independent labels find and sign their own acts; then the label manufactures, distributes, and promotes its own product.

Independent label distributed by a major label. These independent labels are similar to the type mentioned above in that they find and sign their own acts, but they have a separate contract with a major label to handle manufacturing, distribution, and/or promotion. The major label has no control over the independent label, simply an agreement to distribute its product. Either the independent or the major can terminate the pact at the end of the contractual agreement if they so choose. The independent provides for its own financial stability, and has no outside monetary assistance from a major label. -If signing to an independent label, this type of venture probably affords the better benefit. This is because the act's contract is actually with the independent label, which may offer more creative control, yet the act is having its album distributed by a major label, which also has an interest in seeing the album become successful.

Independent label owned by a major label. Some major labels have started independent labels or purchased an existing independent label outright, and have these labels use, or continue to use, independent distribution for their product. The reason for this is because independents usually are on the cutting edge of new sounds and potential hit artists, and signs acts and releases albums for less money than would have otherwise been spent if the acts were signed directly to the major label. One benefit of this scenario is that if the act eventually proves successful enough on this type of independent, and is seeking a major label deal, it may see its subsequent albums released directly on the major-label owner of its independent label. The moniker "independent" is sometimes associated with these major-label owned independent labels because they use independent distributors to distribute their albums instead of their affiliated major-label distribution system. However, these labels are not true independents, the differences being: a) these independent labels can seek the financial backing of their major-label owner should they ever fall on hard financial times. b) the major-label owner can sign acts itself, and then place acts on its independent label if it chooses, even though the independent label signs acts itself. c) the major-label owner can potentially steal away any act from its independent label at any time and bring that act directly to the major-label owner, regardless of if the act is still under contract to the independent label. d) the major-label owner could completely shut down the independent label entirely or sale it off for financial reasons or for restructuring of the overall conglomerate. None of these are circumstances that pertain to true independent labels like those in the first two examples. A record label needs more than independent distribution to qualify as an independent label, otherwise it is an arm of a major label.^[21]

It can be very difficult for independent bands to sign to a record label that may not be familiar with their specific style. It can take years of dedicated effort, self-promotion, and rejections before landing a contract with either an independent or major record label. Bands that are ready to go this route need to be sure they are prepared both in terms of the music they offer as well as their realistic expectations for success.^[22]

The three main ways for an artist to make money are record deals, touring, and publishing rights.

Major label contracts[link]

Most major label artists earn a 10–15% royalty rate. However, before a band is able to receive any of their royalties, they must clear their label for all of their debts, known as recoupable expenses. These expenses arise from the cost of such things as album packaging and artwork, tour support, and video production. An additional part of the recoupable expenses are the artist's advance. An advance is like a loan. It allows the artist to have money to live and record with until their record is released. However, before they can gain any royalties, the advance must be paid back in full to the record label. Since only the most successful artists recoup production and marketing costs, an unsuccessful artist's debt may carry over to their next album, meaning that they see little to no royalties.

Major label advances are generally much larger than independent labels can offer. If an independent label is able to offer an advance, it will likely fall in the $5,000–$100,000 range. On the other hand, major labels are able to offer artists advances in the range of $150,000–$500,000. Some smaller independent labels offer no advance at all; just recording cost, album packaging, and artwork, which is also recoupable. If an artist gets no advance at all, they owe their record company less money, thus allowing them to start receiving royalty cheques earlier; that is, if sales warrant any royalty checks at all. However, since the record label typically recoups so many different costs, it's actually to the artist's advantage to get the largest advance possible because they may not see any royalties checks for quite some time; again, that is, if sales warrant any royalties checks at all. Another advantage of getting an advance; the advance money the artist owes the label is only recoupable through the artist's royalties, not through a return of the advance itself.^[23]

In a record contract, options are agreed upon between the record company and the act. Options allow the label to request additional albums from the act if they so choose. Major labels tend to ask for more options in a contract than independents. For instance, a contract may state "one album, with an option for four". This would mean a total of five possible albums. This means that if the first album was recorded and released by the label and was profitable, the label is going to pick up its option for a second album. The act, therefore, must deliver a second album to the label. If that album is successful, the label will pick up its option for a third album; and so on and so on, depending on how many options are stated in the contract. Picking up the option for another album lies strictly with the label, not the act. The label can pick up as many options as it wants, up to the amount stated in the contract, it does not have to pick up all the options. That means, although a contract may state it has an option for four albums, the label does not have to pick up all four of these options. The reason for this is, say the act's first album is successful and the label picks up an option for a second album, but that second album fails miserably. The label could decide it is not about to spend more money on another album, and not pick up any more options and drop the act from its roster. Another ploy the label could utilize is to pick up an option for another album, even after a failed album had been released. If the label doesn't like the finished product of the new album the act has recorded, the label may not release that album, and then pick up its option for yet another album! The label then may not release that album as well! But the money spent for recording these unreleased albums may still be recoupable from the albums that have already been released. Because the act is under contract with the label, it cannot record music for another record label without permission. This scenario could potentially tie an act down to a label for years, even though the label has no intentions of releasing any more product from this act, in a career that guarantees no success, and if so, typically only sees a few prime years of prosperity. Some acts consider this unfair because the label has the right to not distribute an artist's work, yet legally keep them bound and prevent them from recording elsewhere. In effect, the label could continue to demand more albums through the options clause until it deems one commercially or artistically acceptable. Record labels also effectively own the product recorded (released or not) by an act during the duration of their contract with the label.^[24]

Options are only beneficial to the record label. The fewer options allowed in the contract, the better for the act. An example: if an act's first and/or second album is successful, but there are no more options left, the label will re-sign the act all over again anyway. This time it will most likely be with a much better royalty rate and more creative freedom than the previous contract stated. Or, the act can decide to move to another label altogether, one that is offering a better royalty rate or creative freedom. However, when the label holds a clause for lots of options for additional albums, it has the advantage. Besides the scenario in the above paragraph of the label requesting albums it may not release and preventing the act from recording elsewhere, the exact opposite could happen instead. The act could release a blockbuster album on their very first release. The label will surely pick up its options for future albums and distribute them, but the act will continue to see all its royalty checks and recoupable expenses calculated under the same contract it signed many years ago. When its contract is finally up (with all those options), the act may have declined considerably in music popularity and may not have the same bargaining position that it had so many years ago when it released that blockbuster album. Had there been fewer options on the initial contract, the act could have negotiated a new and better contract while in its prime.

Independent label contracts[link]

Independent label contracts typically resemble contracts offered by major labels because they have similar legal liabilities to define before representing an artist. There are differences, however, usually with regards to less advances, lower studio costs, lower royalties, but fewer album options. Due to financial constraints, independents typically spend much less on marketing and promotion than major labels. But with lower royalties rates typically paid to artists and lower production and promotion costs, independent labels generally can turn a profit off lower volumes of sales than a major label can.

Although not common, there have been instances of profit-sharing deals with independent labels in which an act can get as much as 40–50% of the net profits. In this type of contract, the net gain after all expenses have been taken out are divided between the label and artist by a negotiated percentage. However, deals in this form can take longer for an artist to gain any profits, if at all, since all expenses – such as recording, manufacturing, publicity and marketing, music videos, etc., are also taken into account. Only if an independent artist becomes vastly popular are deals of this type more advantageous.

Independent labels also rely on "word of mouth" to expose their acts. Independent labels tend to avoid high budget marketing tactics, which usually does not fall in the budget of an independent label. This of course contributes to the overall lower production cost, and may help the artist to receive royalties sooner, if warranted. Major labels tend to watch indie label artists and gauge their success, and may offer to sign acts from independents when their contract is up. The major may also request to buy the contract of the act from the independent label before the contract is up, giving the independent label a hefty financial payment if they choose to sell the contract.

Publishing[link]

If a band or artist writes their own material, publishing can be one of the best ways to earn a profit. It is one of the few guaranteed ways to earn revenue for artists. Basic copyright law protects songwriters by giving them exclusive rights to grant or deny the reproduction, distribution, or performance of their work. The majority of a band's publishing income comes from its mechanical and performance rights. Mechanical rights cover the reproduction of a song on a record. In the standard contract between a band and a label, the label is required by law to pay the composer a fixed rate per song simply for the right to use the composition on commercially sold recordings. The mechanical licensing rate in 2006 for the U.S. and Canada is 9.1 cents per song.^[25] With the performance rights, a song's copyright covers every time it appears on radio and television.

However, in recent years touring is also becoming one of the ways to make money, though its revenue is not so much as that of major artists'. That's not only because ticket sales and ticket prices are increasing, but also because they are selling their goods, such as T-shirts, towels, wristbands, and so on. Most of artists tend to sell their goods in addition to publishing their works. Moreover, there are some examples that sound sources which have been just recorded are sold after concerts.

Increasingly the internet is making new methods of publication accessible to independent musicians. Services have been set up to distribute independent music over the internet with many different types of payment models. This often allows artists to reach a much wider audience than would normally be possible as a local band.

Competition between independent and traditional publishing[link]

Independent music sales volume is difficult to track, but in 2010 independent retailer CD Baby claimed to have sold over 5 million CDs during its lifetime. ^[26] CD Baby no longer reports its number of CDs sold, but in 2010 claimed to have paid a total of $107 million to artists over its lifetime and currently claims that this figure is now over $200 million.^[27]

Apple has announced the they have sold over 16 billion songs through their iTunes service.^[28] Most of this is “mainstream” music, and doesn't reflect access by new content producers to the market, but it does indicate significant competition with traditional CD sales.

Whether the sales from non-traditional sources come mostly from tapping into an expanding market or from siphoning sales away from traditional CD distribution is difficult to assess in the face of the RIAA's claim that music piracy causes 12.5 billion dollars damage to the US economy annually.^[29]

See also[link]

• Underground music
• Indie music scenes

Notes[link]

References[link]

• N2R Media (April 16, 2011). "Global Musicians Directory 2012". http://www.globalentertainmentguide.com. 
• Adams, Simon (July 1, 2010). "101 Ways To Market Your Music On The Web". http://www.mymusicsuccess.com. 
• Imhorst, Christian: The 'Lost Generation' of the Music Industry, published under the terms of the GNU Free Documentation License 2004
• Toomey, Jenny (November 15, 1999). "Future Prospects for Music and Technology: Musictech's Ben Morgan on the Paradigm Shift in Music Consumption". http://www.futureofmusic.org/articles/morganinterview.cfm. 
• Leyshon, Andrew, et al. (2005). On the reproduction of the music industry after the internet. 27. Media, Culture, and Society. pp. 177–209. 
• "An Independent's Guide to Digital Music". http://www.iodalliance.com/guide.php. 
• Hesmondhalgh, David (1999). Indie: the institutional politics and aesthetics of a popular music genre. 13. Cultural Studies. pp. 34–61. 
• Leeds, Jeff (January 10, 2006). "Independent music on move with internet". International Herald Tribune. http://www.iht.com/articles/2005/12/28/features/record.php. 
• Pfahl, Michael (August 6, 2001). Giving away music to make money: independent musicians on the internet. 6. First Monday. http://www.firstmonday.org/issues/issue6_8/pfahl. 
• Mansfield, Brian (May 20, 2004). "When Free is Profitable". USA Today. http://www.usatoday.com/tech/webguide/music/2004-05-20-file-sharing-main_x.htm. 
• Ramsay, J.T. (April 4, 2006). "Live from the Witch Trials". www.pitchforkmedia.com. http://www.pitchforkmedia.com/article/feature/31254-live-at-the-witch-trials. 
• Sherrard, Stephen (April 26, 2006). "Record Deals Versus Independent Releases". http://www.music-tech.com/business.php?subaction=showfull&id=1112329919&archive=&start_from=&ucat=2&. 
• Haverty, Neil (November 1, 2002). "Arts Funding for Whom? Indie Labels Starve While Government Support Rewards Success". http://www.exclaim.ca/index.asp?layid=22&csid=1&csid1=1078. 
• Knab, Christopher (April 2006). "Deals that Await Successful Independent Music Labels". http://www.guitar9.com/columnist446.html. 
• Friends, Stacey (October 2003). "Independent Labels: What's the Deal?". Performer. http://www.performermag.com/IndependentLabels.php. 
• Friends, Stacey (November 2005). "Independent Label vs. Major Label Contracts". Performer. http://www.performermag.com/IndieVSMajorContracts.php. 
• Ian, Janis (May 2002). "The Internet Debacle: An Alternative View". Performing Songwriter. http://www.janisian.com/article-internet_debacle.html. 
• Andrews, Catherine (October 13, 2006). "If it's cool, creative and different, it's indie". CNN. http://www.cnn.com/2006/SHOWBIZ/Music/09/19/indie.overview/index.html. 
• Fonarow, Wendy. Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Wesleyan, 2006. ISBN 0-8195-6811-2
• Hoskin, John (May 29, 2012). "Indie IN/ Home Page". https://sites.google.com/site/indieinmusic/. 
• Hoskin, John (May 29, 2012). "Indie IN/ New Faces". https://sites.google.com/site/indieinmusic/new-faces. 
• Hoskin, John (May 29, 2012). "Indie IN/ Alternative Rock". https://sites.google.com/site/indieinmusic/alternative-rock. 
• Hoskin, John (May 29, 2012). "Indie IN/ Folk & Grass". https://sites.google.com/site/indieinmusic/folk-grass. 
• Hoskin, John (May 29, 2012). "Indie IN/ Dance & Tech". https://sites.google.com/site/indieinmusic/dance-tech. 
• Hoskin, John (May 29, 2012). "Indie IN/ Pre Y2K Wall". https://sites.google.com/site/indieinmusic/pre-y2k-wall. 

External Link[link]

• Indie IN

The Twang are an indie rock band from Birmingham, England, formed in 2001. The band have released two studio albums - Love It When I Feel Like This (2007) and Jewellery Quarter (2009). Comprising vocalist and guitarist Phil Etheridge, bassist Jon Watkins, vocalist Martin Saunders, guitarist Stu Hartland and drummer Matty Clinton, the band garnered national acclaim when the influential NME magazine produced an article on music acts in the West Midlands (which also featured fellow Midlanders Ripchord and The Enemy) .

The band's debut single, "Wide Awake", was released March 19, 2007, with their debut album Love It When I Feel Like This (released on June 4, 2007) being produced by Gavin Monaghan, known for his work with Editors, Ocean Colour Scene, Robert Plant, Scott Matthews and The Holloways. The album reached #3 in the UK charts.^[1]

The Twang's second album, Jewellery Quarter, was released 3 August 2009 and reached #20 on the UK album chart. The album was produced by Neil Claxton of Mint Royale at Blueprint Studios in Salford.

Lead singer Phil Etheridge is an Aston Villa supporter, Saunders is a Birmingham City supporter whilst the rest are West Bromwich Albion supporters as stated in a Live Lounge session on BBC Radio 1 presented by Jo Whiley.

Biography[link]

Formation and Neon Twang Years 2004-2007[link]

The band was formed in Quinton, Birmingham by Phil Etheridge and Jon Watkin after the pair studied music technology together at Kidderminster College. The Twang originally performed in and around Birmingham under the name "Neon Twang". However, this was allegedly changed due to minor scuffles between the band's fans and punters in various Pubs. These events prevented them booking gigs in some venues, hence the need for the name change. The band have been quoted saying that they do not promote violence at their performances and criticised the lack of doormen and security at local venues.

During the "Neon Twang" period, the band's sound was very similar to how it is now, some very early track names being "See It Thru", "Big Day Out", live favourite "Shoot To Kill", "Time Waits", "Push The Ghost", "Aimless With An Aim" and the reggae influenced "Fake ID". "Aimless With An Aim" and "Fancy That" later appeared as B-Sides to the band's first single "Wide Awake". Demos of early these Neon Twang tracks can still be found online and are much beloved by fans.

In the early days prior to Stuart Hartland and drummer Matty Clinton joining the group, lead singer Phil Etheridge and bass player Jon Watkin swapped instruments on numerous "Neon Twang" tracks ("Cloudy Room", "Push The Ghosts" and "Aimless With An Aim" being surviving tracks from this period). Etheridge frequently played bass guitar and sang, whilst Watkin played lead guitar. The addition of Hartland in late 2005 enabled Watkin to take over bass duties permanently and allowed Etheridge to perform songs live with much more enthusiasm, although the frontman's trademark dancing was still evident whilst playing bass.

Love It When I Feel Like This 2007-2008[link]

After numerous meetings with major record labels The Twang eventually signed a deal in 2007 with Independent record label B-Unique, home to Kaiser Chiefs, The Automatic and The Ordinary Boys at the time.

In April 2007 they had their first NME cover and two months later they were the subject of a BBC Radio 1 documentary. Throughout early 2007 the band were frequently hailed by the NME as "Britain's Best New Band" and walked away with the Phillip Hall Radar Award at the 2007 NME Awards.

Their debut single release, Wide Awake was released in both CD and 7" format on the 19th of March 2007. The record reached number 15 in the UK singles charts and was followed up by a second single Either Way on 28 May 2007 - the band's highest charting single to date which reached number 8 in the UK singles charts. Either Way proved to be the breakthrough that The Twang needed and the single received heavy radio play and was championed by BBC Radio 1 DJs such as Edith Bowman, Jo Whiley and Chris Moyles.

Their debut album Love It When I Feel Like This was released on 4 June 2007 amid much media hype. The record did not disappoint and landed in the UK album charts at number 3. Through 2007 - 2008 the band toured extensively and performed sold out shows most notably to a capacity show at London's Brixton Academy where they played to 5,000 adoring fans and a headline slot on the John Peel stage at Glastonbury.

Towards the end of 2007 the band released a new single Two Lovers which starred the band alongside iconic British actor Danny Dyer and actress Jaime Winstone as a pair of dysfunctional sweethearts.

The band also worked with The Streets on a remix of their hit single "Either Way". The remix also featured rapper Professor Green.

In February 2008, The Twang had their University of Surrey gig filmed and later broadcast on Channelbee. However this footage no longer available due to Channelbee's demise. Whether it is available on the internet via another source is unknown.

Jewellery Quarter 2009-2010[link]

In January 2008, following a rollercoaster year The Twang decamped to the isle of Anglesey, where they hired a private cottage and quietly began writing what would eventually be their second studio album. The band have described this period as a magical time in their career.

In March 2008, The Twang packed their bags and jetted out to Granada, Spain, to record their second album with Killing Joke bassist and music producer, Youth, credited with recording The Verve's iconic album Urban Hymns. Back in the UK they enlisted Mint Royale whiz kid Neil Claxton and finished recording at ‘Blueprint’ Studio’s in Salford, Manchester, home of Mercury Prize winning band Elbow. A month later the album was complete and the title Jewellery Quarter was attached to it, a homage to the area in Birmingham in which the band were now resident. The artwork to ‘Jewellery Quarter’ was the idea of critically acclaimed Wolverhampton artist Temper who, unknown to the band was also situated in the Jewellery Quarter. The piece depicts the band all pulling a huge anchor, the symbol of the Jewellery Quarter. The artwork, painted entirely with aerosol cans, stood at nearly six feet in height.

On 7 May 2009, The Twang announced a free download of album track "Another Bus", along with the album details and title, "Jewellery Quarter".

The first single proper to be lifted from the album was "Barney Rubble" and featured a sample from classic 1990s dance track "Give It Up" by The Goodmen, the promotional video featured the band in the idyllic hills of Montenegro driving classic cars and motorcycles whilst mixing with locals.

The Twang's songs have been used on various T.V. programmes. "Twit Twoo", taken from the album Jewellery Quarter, was used on Match of the Day. "Barney Rubble" was used on ITV when they showed the group standings and results after, before or at half-time in their football shows/matches. "Back Where We Started", also taken from Jewellery Quarter, was used on ITV as part of their football shows/matches. "Reap What You Sow" from Love It When I Feel Like This was used on Katie Price: What Happened Next and Ice Cream Sundae has also been used at various times on the BBC.

Live footage of the band's sold out show at Birmingham O2 Academy in 2009 was used in the video for the album's second single "Encouraging Sign" which was released on download only.

Guapa EP & Third Album 2011-Present[link]

In January 2010 The Twang made an official statement regarding Stu Hartland, the band's guitarist, stating that the band and Hartland were no longer working together and that the band were working with a new guitarist Jimmy Jazz. Although no longer recording with The Twang, Hartland still plays live whilst pursuing other projects.

In summer 2010, The Twang began writing and recording new material with long time friend and producer Jon ‘Simmo’ Simcox. With the introduction of Simcox on guitar, the Twang realised a fresh new sound and direction. They quickly recorded demos, and then later in 2010 recorded final versions of the songs due to be released as The Twang's third studio album.

The Twang announced on 1 February 2011 via Facebook that they would be releasing a new EP titled ""Guapa"" on 14th February 2011 containing 4 brand new tracks. The EP was well received by fans and critics alike. The physical release was limited to 1,000 pressings and sold out almost immediately.

German Band "The Twang"[link]

There is also a German band called "The Twang". Since the Germans (a country band founded in 1999) own the rights to the name both bands release albums under the same band name which often leads to confusion.

Discography[link]

Albums[link]

• Love It When I Feel Like This (4 June 2007) #3 (UK)
• Jewellery Quarter (3 August 2009) #20 (UK)
• 10:20

EPs[link]

• Guapa EP (14 February 2011)

Singles[link]

• "Wide Awake" (March 19, 2007) UK #15
• "Either Way" (May 28, 2007) UK #8
• "Two Lovers" (August 27, 2007) UK #34
• "Push the Ghosts" / "Drinking In L.A" (November 26, 2007) UK #63
• "Another Bus" (Free download)
• "Barney Rubble" (July 27, 2009) UK #59
• "Encouraging Sign" (October 18, 2009)
• "Paradise" (Free download)
• "We're a Crowd" (February 13, 2012)

References[link]

1. ^ http://www.ilikemusic.com/music_news/Rihanna_does_double_dominates_UK_charts-3767

Skinner- You Geezer at musicscoop.net

• http://www.ilikemusic.com/music_news/Rihanna_does_double_dominates_UK_charts-3767

External links[link]

• Official Website
• The Twang on Myspace
• The Twang interviewed by the Northamptonshire Evening Telegraph
• The Twang gig review on what-music.com

Bernard "Barney" Rubble is a fictional character who appears in the television animated series The Flintstones. He is the diminutive, blonde-haired caveman husband of Betty Rubble and father of Bamm-Bamm Rubble. His best friends are his next door neighbors, Fred and Wilma Flintstone.

Barney's personality was based on that of Ed Norton on the 1950s television series The Honeymooners, played by Art Carney. Mel Blanc, who voiced Barney, first used the Barney Rubble voice when imitating Norton in the 1956 Looney Tunes cartoon Half-Fare Hare. Like Ralph Kramden on The Honeymooners, Fred was constantly on the lookout for get-rich-quick schemes, while Barney, like Norton, found life satisfactory as it was but participated in said schemes because Fred was his friend. Usually after Fred had hatched one of his plans, Rubble would usually show his agreement by laughing and saying "er huh huh... OK, Fred!" or "huh huh huh... whatever you say, Fred!"

Barney's interests included bowling, playing pool, poker, tinkering around in Fred's garage and playing golf (though there were episodes where Barney did not know how to play golf). He, like Fred, was also a member of the Loyal Order of Water Buffalos lodge and its predecessor in earlier episodes, the Loyal Order of Dinosaurs. He is also a talented pianist and drummer.^[6] In the first episode of the original series he was an inventor of a human-powered helicopter. Though clearly depicted as being in better shape than Fred, he isn't shown to be quite as enthusiastic a sportsman as Fred is. This distinction can be attributed to Fred's fondness of food, though Barney is shown to be almost as capable of excessive appetite on a number of occasions.

Biography[link]

While the mid-1980s spinoff series The Flintstone Kids depicts Barney as a child, the series seems to be mostly apocryphal due to its presenting Barney as a childhood friend of Wilma and Betty (versus the original series' assertion that they first met as young adults). Still, the series' assertions that Barney has at least one younger brother, Dusty, was a childhood friend of Fred, and was the son of artist Flo Rubble and car dealer Robert "Honest Bob" Rubble might be taken as valid. It is suggested in the original series that Barney grew up at 142 Boulder Avenue in Granitetown. The original series also suggested in one episode that Barney was the nephew of Fred's boss, Mr. Slate, though subsequent episodes and spinoffs don't seem to support this claim.^[7] As young adults, Barney and Fred worked as bellhops at a resort, where they first met Wilma and Betty, who were working as cigarette girls.^[8] Eventually, Barney married Betty (as Fred did Wilma).

Several episodes and spinoffs suggest that Barney, along with Fred, spent some time in the army early in their marriages, though said references may be to Barney and Fred's military service in the first season episode "The Astr'nuts."

While the subject of Barney's occupation (or even if he had one) was never given during the original series, the majority of subsequent spinoffs suggest at some point after the original series, Barney went to work at the Slate Rock and Gravel Company quarry alongside Fred as a fellow dino-crane operator. An early episode of the original series does have a brief scene of Barney working at the Granite Building.^[9] When speaking to an upper-crust snob in another episode, Betty declares Barney is in "top-secret" work; but that might have been a cover for a low-level job or unemployment, or perhaps an in-joke meaning that Barney's job was unknown even to the show's writers. It could also be possible that both Fred and Barney work at the quarry, but may work in different sections of it, under different bosses. In one episode, Barney's boss tells him to "put down his broom," which implies some sort of janitorial work is involved.

During the fourth season of the original series, Betty and Barney found an abandoned infant on their doorstep, by the name of "Bamm-Bamm." A court battle ensued between the couple and a wealthy man who also had wanted to adopt Bamm-Bamm. Barney and Betty were successful in their efforts to adopt Bamm-Bamm because the wealthy man gave up (after winning the case) upon learning his wife became pregnant, after which he became a staple character on the series.^[10] For a number of episodes after Bamm-Bamm's debut, there is no sign of him on the show. In the fifth season, the family buys a pet hopparoo (a combination of a kangaroo and dinosaur) named Hoppy.

When Bamm-Bamm grew into a teenager, Barney joined the Bedrock police force with Fred for a period of time as part-time officers. Both characters were paired with the Shmoo from Li'l Abner.^[1] He later became grandfather to Pebbles and Bamm-Bamm's children, Chip and Roxy.^[5]

Although he was friends with Fred, even he (Barney) lost his patience with him sometimes. The best example comes in "I Yabba-Dabba Do!": after losing his patience with Fred for ruining Pebbles and Bamm-Bamm's wedding, he decided to leave Bedrock. He changed his mind after Fred apologized.

In several of the original episodes of the series, Barney can be seen with his eyes depicted as two ovals or (occasionally) circles shown only as dark circular outlines. Other episodes show his eyes as being completely filled in with black, very similar to Wilma's eyes. However, there are three occasions where he was seen with whites in his eyes, in the episodes "The Engagement Ring," "Ventriloquist Barney" and "A Haunted House Is Not a Home". In "The Engagement Ring," the whites in Barney's eyes appear when Fred suggests that he spar with a fearsome boxer in order to earn enough money to buy Betty a belated engagement ring. In "Ventriloquist Barney," the whites in Barney's eyes appear when he describes the terrifying facial features of wrestler Bronto Crushrock. In "A Haunted House Is Not a Home," the whites in Barney's eyes appear when Fred hits him on the head after Barney frightens him by gargling in the bathroom too loudly.

Marriage[link]

Unlike Fred, Barney has never been shown with any woman aside from his wife. However, an exception for this is made in The Flintstones in Viva Rock Vegas when he is invited to go to a buffet with Roxy, though he is not married to Betty at this point, but they are dating. Betty sees Barney wiping cream off Roxy after he accidentally knocks a cake onto her. Betty is hurt, mistakenly believing this to be an intimate gesture. Another exception is made in A Flintstones Christmas Carol when an actress named Maggie appears and every man at the Quarry, including Barney, is surprised over her beauty.

Portrayal[link]

Mel Blanc was the principal voice of Barney Rubble, although Daws Butler (who previously voiced Ned Morton, a mouse version of Ed Norton (the inspiration for Barney Rubble), in the Looney Tunes short The Honey-Mousers) briefly assumed the role while Blanc recovered from a car wreck.^[11] Since Blanc's death, Frank Welker, Jeff Bergman, Stephen Stanton, Kevin Michael Richardson, Brad Abrell, Seth MacFarlane, and Scott Innes have all performed the role. Hamilton Camp voiced Barney in The Flintstone Kids.

In the 1994 live action Flintstones movie, Barney was portrayed by Rick Moranis. In the 2000 prequel, The Flintstones in Viva Rock Vegas, he was portrayed by Stephen Baldwin. In a Toshiba commercial he was voiced by Scott Innes.

Appearances[link]

Barney has made cameo appearances on the show Dexter's Laboratory, Family Guy, Saturday Night Live and in the movie Better Off Dead.

External links[link]

• In "The Flintstones" what was Barney Rubble's job?

References[link]

The Cribs
The Cribs in Sao Paulo, Brazil, June 2011
Background information
Origin	Wakefield, West Yorkshire, England
Genres	Indie rock, garage rock, punk rock, lo-fi
Years active	2000–present
Labels	Wichita, Warner Bros., Universal
Website	www.thecribs.com
Members
Gary Jarman Ryan Jarman Ross Jarman
Past members
Johnny Marr

The Cribs are an English three-piece indie rock band originally from Wakefield, West Yorkshire. The band consists of twins Gary and Ryan Jarman and their younger brother Ross Jarman. They were subsequently joined by ex-The Smiths and Modest Mouse guitarist Johnny Marr who was made a formal member of the group in 2008. Marr would remain as part of the band until 2011; his departure was officially announced on 11 April through the band's website. Despite returning to the original trio, the band currently enlists David Jones of Nine Black Alps as a second guitarist for live shows. The band, who first became active on the concert circuit in 2002, were initially tied to other like-minded UK bands of that time, most notably The Libertines, by a British music press that were looking for a 'British rearguard' to the wave of popular US alternative rock bands of the time. They had outgrown this tag by the time of the commercial success of their third LP. In 2008, Q magazine described the band as "The biggest cult band in the UK".

History[link]

Formation and early years (2001–2003)[link]

The Cribs were formed in late 2001 as a recording project for the three brothers, who had set up their own Springtime Studios, a lo-fi, all analogue affair in an ancient mill.^[1] After recording a demo and garnering label interest, the band started playing live around this time, at venues like the Brudenell Social Club in Leeds, and "squats and warehouse parties" with artists such as Calvin Johnston, Subway Sect, Herman Dune, and Ballboy. They also released a split 7" single on Leeds based garage/riot grrrl/punk label Squirrel Records during this period with former Shove/Boyskout member Jen Schande.^[2] Limited to 300 copies on blue vinyl the record is now a rarity that sells for upwards of $150 on eBay.^[3] According to Mojo magazine, 'On the strength of one demo, the rush to find the UK Strokes saw the three-piece fielding calls from major labels, pluggers and label managers' in 2002.^[1] After several high profile support slots, the band signed to the fledgling independent label Wichita Recordings in 2003 "we thought (they) were great because they sounded a bit like Pavement and had a big hook. We went to see them at the Metro on Oxford Street and completely fell in love with them. They seemed like such an obvious pop band. Every song sounded like a single" - Mark Bowen, Wichita Recordings.^[4]

[edit] The Cribs (2004)

After signing with Wichita Recordings, the band began re-recording many of the songs from the original demo, as well as several new tracks for what would be their debut record. Sessions began in London with Chicago based avant-garde musician Bobby Conn producing, after the band had supported him on some UK dates and impressed him "They had this cassette demo they had recorded on a boom-box, I suggested overdubs, they were too kitchen-sink for overdubs. I tried handclaps, they were 'not sure about handclaps'. It was all 'Keep it real'" - Bobby Conn.^[1] Then sessions moved to Toe Rag Studios studios in Hackney with the band self-producing. The album was completed in 7 days, live to 8-track tape, with Ed Deegan engineering.

Released on 8 March 2004, the album found early supporters in the NME, who commented on its "supreme pop melodies", and referred to it as "lo-fi, hi fun" giving it an 8/10 review.^[5] Lo-fi would be a term that would follow the band around for the next few years, and something that became synonymous with the group. Again, from the NME in 2011: "Recorded in a week, it's the definition of indie lo-fi. But not willful indie lo-fi; the scratches, clangs and gawwumps all heard here are genuinely the product of the trio's shoestring methods rather than the usual contrived fuzz that bands spend ages poring over beaten up eight-tracks to achieve".^[6] Radio 1 DJ Steve Lamacq was also an early champion. Lois Wilson of Mojo magazine described the album in 2009 as "intelligent lyrics on a background of clipped guitars and tumbling drums, with nods to The Strokes, Beat Happening, and C86's inept charm"^[1] Three singles were released from the album – the limited edition 7" only "Another Number"/"Baby Don’t Sweat" in November 2003, followed by first single proper "You Were Always the One", which climbed to #2 in the indie charts. "What About Me" was the third and final single from the album, again making the indie top 10. The Cribs toured extensively throughout 2004 and into 2005, both as headliners as well as supporting artists like old friend Bobby Conn, Death Cab For Cutie and The Libertines. Over the campaign they toured the UK and Ireland, Europe, Japan, and the USA, as well as several significant international festival appearances such as Reading and Leeds Festivals, Summersonic, T in the Park and Pukkelpop amongst others.^[7] Though only a moderate underground success at the time "Another Number" has gone on to become one of the band's most enduring ‘hits’ – seldom being left off the set-list and usually accompanied by a full crowd sing-along of the signature, repeated guitar riff.^[4][8]

[edit] The New Fellas (2005–2006)

After concluding touring duties for the first record, the band were taken off the road to start writing the follow up. However, The Cribs decided they still wanted to tour and took to posting their phone numbers and email addresses on the internet, professing to play anywhere for fuel money and a crate of beer. This DIY approach is something the band and label now feel was a key factor in their success, as it helped nurture a very strong, passionate fanbase.^[4][9]

The New Fellas, the band's second album release, was recorded with Edwyn Collins, the singer-songwriter and guitarist from Glasgow's influential Orange Juice in London at his own West Heath Studios. Again, it was a comparatively unpolished record sonically, as both the producer Collins and the band themselves were achieving sounds similar to those heard on the Orange Juice records. This was, however, the intention and the reason the band and producer were put together. "They had definite ideas what they wanted the record to sound like…They had this work ethic, there was nothing spoiled about them - they were proper indie; everything done on a shoe-string and they just got on with it….they were tremendous" - Edwyn Collins.^[1] One song, "Haunted", was even recorded on Scarborough beach on a whim, after hearing a Steve Martin ukulele duet recorded on a beach.^[10]

The first release from the record was the single "Hey Scenesters!" on 18 April 2005. It reached no. 27 in the UK charts, and started their run of 7 consecutive top 40 singles. The album followed on 20 June 2005 although it had leaked onto the internet several months prior to the official release date, hampering its first week sales. The record has however, gone on to be certified Silver by the BPI, and in a recent poll held by the NME was proved to be the overall fans favourite record.^[6] The other singles released from the record were "Mirror Kissers", "Martell", and non album track "You're Gonna Lose Us" (produced by Bernard Butler), which was paired with "The Wrong Way To Be" as a AA side. The extensive New Fellas world tour took in several UK tours, Europe, USA, Canada, Japan, Australia, Scandinavia, and their first trip to Iceland.^[11][12] They appeared at numerous festivals at this time, including an appearance on the main stage at Reading and Leeds Festivals (becoming the first band to ever progress through all three stages in consecutive years), headlining the tent at T in the Park, Fuji Rock festival in Japan as well as an extensive USA arena tour with Death Cab for Cutie and Franz Ferdinand. A European tour during this period with ex Pavement man Stephen Malkmus and The Jicks would introduce Gary to his future wife Joanna Bolme.

Shortly before their appearance at the Fuji Rock festival, The Cribs released a Japan-only mini album called Arigato Cockers, made up of B-sides and rarities from both the first and second albums.

In their year-end issue, the NME made The New Fellas the #11 album of the year, and Hey Scenesters a single of the year.^[13]

[edit] Men's Needs, Women's Needs, Whatever (2007–2008)

At the conclusion of The New Fellas campaign, The Cribs signed a major label deal with Warner Bros. Records – though they remained on Wichita in the UK at the bands insistence. The subsequent album, Men's Needs, Women's Needs, Whatever saw the band finally take steps to progress forth from their 'lo-fi' roots, being recorded in Vancouver, BC, Canada with Alex Kapranos of Franz Ferdinand as producer. The band and producer had met during the US tour the bands did together with Death Cab for Cutie, and hit it off immediately.^[14] The album was mixed by Andy Wallace (Nirvana, Foo Fighters). They collaborated with Lee Ranaldo of Sonic Youth on the track "Be Safe" – Ranaldo contributing his spoken word poetry to the band's music.

Prior to the records release The Cribs took in a run of small UK club dates to preview songs from the new record. This is documented in the first Cribs documentary Leave Too Neat. The first cut from the album was the single "Men's Needs", released on 7 May. It proved to be the band's first breakthrough with mainstream radio and reached no. 17 in the UK charts, becoming their biggest hit to date. The accompanying video, filmed in Hollywood by director Diane Martel has achieved over 7 million Youtube views to date.^[15]

The album was released on 21 May 2007, and entered the UK album charts at #13.

Touring began at the Royal Albert Hall in London on 30 March for the Teenage Cancer Trust. The rest of 2007 and most of 2008 was spent on the road promoting the record, taking in extensive UK and European touring, several USA and Canada tours, Japan, and the band's first trip out to Mexico for a main stage appearance at the MX Beat Festival, as well as some later headline shows.^[16][17] During their US touring schedules they appeared on Late Night with Conan O'Brien, The Late Show with David Letterman, and the Late Late Show with Craig Ferguson.

The second single to be released from the record was "Moving Pictures", again charting in the UK Top 40, and then later a 7" only release of "I'm a Realist". The latter was backed with a cover of The Replacements song "Bastards of Young", a band The Cribs cite as a large influence.^[18] Another non-album single "Don't You Wanna Be Relevant" was paired with album cut "Our Bovine Public" and again climbed to the UK top 40. There were numerous festival slots around this time including main stage slots at Lollapalooza, T in the Park, and V festival, as well as returning to Fuji Rock, and a first time appearance at Coachella amongst others. In November 2007, The Cribs were invited by a re-formed The Sex Pistols to play with them for three nights at Brixton Academy in celebration of the 30 year anniversary of Never Mind the Bollocks^[19] In December the band announced three intimate shows at their old haunt the Brudenell Social Club in aid of Cystic Fibrosis where they would play all three albums to date in sequence with secret unannounced support bands each night (Franz Ferdinand, Kate Nash, and Kaiser Chiefs respectively). This was documented for the band's second DVD, the 3 disc Live at the Brudenell Social Club. In the year-end issues "Men's Needs" was named third-best track of 2007 by NME^[20] with the album coming in at #9,^[21] Track of the Year 2007 by the Metro newspaper and finishing in the 100 best tracks in Rolling Stone magazine in the USA.

2008 began with The Cribs being nominated for 4 awards at the annual NME awards ceremony (Best British Band, Best Live Band, Best Track and Hero of the Year for Ryan Jarman).^[22] Through this they were asked to headline the annual NME Awards Tour, which they undertook through January and February featuring some of the bands largest headline shows up to that point and culminating in a show at the o2 Arena in London. They also made a live appearance at the Awards ceremony itself, playing "I'm a Realist" and a cover of The Smiths' "Panic", featuring their new guitarist Johnny Marr (of the aforementioned The Smiths), who had been guesting with them throughout the tour. Another USA tour followed this, and then some more festival appearances including main stage slots at the Isle of Wight Festival, Rockness, Primavera Festival, Fuji Rock and Sziget, as well as a headline appearance on the John Peel Stage at Glastonbury, and headlining the second stage at Reading and Leeds Festivals.^[17]

[edit] Ignore the Ignorant (2009–2010)

After a chance meeting with Johnny Marr (at the time a member of Modest Mouse) in Portland, OR The Cribs and Johnny became close friends.^[23] Once Modest Mouse completed touring duties for their record, The Cribs and Johnny started to hang around and jam together - "It's been going well and it would be shame to cut it short, the original intention was to be doing an EP" the band told BBC 6 Music in January 2008.^[24] However it was later announced that they would be working on an album together and that Johhny had joined as a full-time member of the group.

Much of the remainder of 2008 was spent writing new material in Portland, OR, Manchester and Wakefield, followed by a short UK tour taking in Glasgow ABC, Bradford St. Georges Hall, two nights at Manchester Ritz, and Heaven in London to road-test some of the new songs before recording commenced. Studio time was booked for March 2009 in Los Angeles with veteran producer Nick Launay (Nick Cave, PIL, Yeah Yeah Yeahs).^[25] Ross Jarman performed most of the drum tracks for the recording with a broken wrist after a skateboard accident.^[26]

Preceded by the single "Cheat On Me", the album Ignore the Ignorant was released on 7 September 2009, and scored The Cribs their first UK Top Ten album. Released the same week that The Beatles re-issued their entire 13 LP back-catalogue, Ignore The Ignorant managed to out-sell all but two of them to chart at number 8, something the band described as "surreal". Touring began with a headline slot at the White Air festival in Brighton followed by a UK tour of large halls. The band then went on to tour Japan (including a show at Budokan with Arctic Monkeys) then on to South Korea where they headlined the Grand Mint festival at the Olympic Park, Seoul. Next was a USA/Canada tour, as well as a European arena tour with Franz Ferdinand before The Cribs returned to the UK for their largest headline shows to date.^[27]

In December 2009, Ignore the Ignorant was placed at number 11 in Mojo magazine's "Albums of the Year", and at number 7 in The Fly's "Albums of the Year". NME also placed it at #30 in their end of year list,^[28] as well as making "Cheat On Me" a track of the year. In Japan, Crossbeat magazine placed it at #8 in its "Albums of 2009" list, whilst Music Magazine called it the #1 album of 2009. Both magazines are leading publications in Japan. At the same time, The New Fellas was named an "Album of the Century" by Q.

2010 began with another extensive USA and Canada tour, before heading off for dates in Australia and New Zealand. Festival appearances including Glastonbury, Lollapalooza, Fuji Rock, Benecassim, and Pukkelpop amongst others followed. During this time the band were invited to support Aerosmith at two arena shows in Spain and France.^[29] For Record Store Day 2010 The Cribs released "So Hot Now" as a split 7" single with Portland, OR band The Thermals on legendary riot grrrl label Kill Rock Stars. On 9 August 2010, BBC Radio 1 DJ Zane Lowe announced during his show that he would be playing a brand new Cribs song that night. The very next day, "Housewife" was released officially on iTunes. No one, from music industry insiders to the band's fans, had any idea that a new single was being geared up until that moment.^[30] The cover art featured Ryan and Gary in drag.^[31] Later that month the band appeared on the main stage once again at the Reading and Leeds festivals to close the album campaign. These would be Marr's last shows with The Cribs.

[edit] In the Belly of the Brazen Bull (2011–present)

After announcing Marr's departure from the group on 11 April 2011,^[32] The Cribs started work on writing the follow up to Ignore the Ignorant, mooted for a May 2012 release.^[33] They played several headlining slots at UK festivals in 2011, as well as a show at Le Zenith in Paris with The Strokes. In June 2011 they made their first trip to Brazil, playing two shows in São Paulo. In December 2011 they headlined the Clockenflap festival in Hong Kong.^[34]

The Cribs announced the title of their fifth studio album as In the Belly of the Brazen Bull and its track-listing on 14 January 2012. The album was recorded at Tarbox Road studio in New York with David Fridmann, London’s Abbey Road and Chicago's EAR studio with engineer Steve Albini. On 14 February, BBC Radio 1 DJ Zane Lowe premiered the first taster from the album, "Chi-Town", on his radio show and played the song 3 times. During this time, both the band and the song title were trending on Twitter.

On 29 February 2012, In the Belly of the Brazen Bull was made available for pre-order via the Wichita Recordings web store. Pre-order options include various bundles containing items such as an exclusive t-shirt, a 'making of the album' DVD and a signed poster, as well as the chance to win a ‘Golden Laminate’ which will gain free entry to any Cribs headline show in the world, for life.^[35] The album was released on 7 May 2012.

Band members[link]

Current members

• Gary Jarman – bass, vocals (2000–present)
• Ryan Jarman – guitar, vocals (2000–present)
• Ross Jarman – drums (2000–present)

Former members

• Johnny Marr – guitar (2008–2011)

Touring members

• David Jones – guitar (2011–present)

Discography[link]

Studio albums[link]

Singles[link]

References[link]

External links[link]

• The Cribs official site