🧬 🎶 𝐏𝐋𝐀𝐂𝐄𝐁𝐎'𝐒 𝐌𝐔𝐒𝐈𝐂𝐀𝐋 𝐃𝐍𝐀 🎶 🧬

🧬 𝑷𝒍𝒂𝒄𝒆𝒃𝒐'𝒔 𝑫𝑵𝑨... this is a topic that seems obvious at first glance but is rather complex.

🧬 In 2018, 𝑼𝑫𝒊𝒔𝒄𝒐𝒗𝒆𝒓 has tried this exercise of finding the origins of Placebo. There are some very good points, as you can read in this article I'm sharing with you today.

Photo credit: Alex Weston / Edit and translation by Laetitia

◾ At first glance, the seventies have little in common with the nineties. There the debauched rock'n'roll lifestyle reigned, here the techno optimism of the early internet age. But in the nineties, rock music made a comeback. Grunge put on flannel shirts instead of spandex suits, Britpop dominated Britain. Placebo brought the two together and made the glam of yesteryear coexist with the hodgepodge that threatened to take over the pop world before the end of the second millennium.

◾Placebo frontman Brian Molko never tired of describing his band as outsiders. As phraseological as it sounds, it's true: Placebo's Nancy Boys rebelled against the legginess of the rock world, talked about bisexuality and depression. "We were reacting strongly to the machismo, the fan chants and the revisionism of Britpop," Molko stressed in an interview. "We wanted to make a political statement with the clothes we wore and the make-up we put on. They succeeded: The rock world became a little more queer with the band's success.

◾ Placebo is the name of a fake drug - a pill that doesn't work. But Placebo is also Latin for "𝐼 𝑤𝑖𝑙𝑙 𝑝𝑙𝑒𝑎𝑠𝑒" and that's exactly what Molko, Stefan Osdal and their drummers - Robert Schultzberg, Steve Hewitt and more recently Steve Forrest - did with a sound that served punk as well as pop, that could be wonderfully quiet and deafening. It's a sound that goes straight to the heart and appeals not just to the fringe. To find out who inspired it, you have to look at Placebo's musical DNA.


🟣 𝗖𝗮𝗽𝘁𝗮𝗶𝗻 𝗕𝗲𝗲𝗳𝗵𝗲𝗮𝗿𝘁 & 𝗛𝗶𝘀 𝗠𝗮𝗴𝗶𝗰 𝗕𝗮𝗻𝗱 – 𝗔𝘀𝗵𝘁𝗿𝗮𝘆 𝗛𝗲𝗮𝗿𝘁

◾ Given Placebo's history, it's not surprising that Placebo is an outsider in the rock world. Brian Molko and Stefan Olsdal attended an American school in Luxembourg as teenagers, far from any musical activity. Both hung out in different cliques and never spoke to each other, until they met years later on the London Underground. Molko saw that the skinny Olsdal had a guitar strapped to his back and quickly invited him to play solo.

◾ It was a providential meeting. Totally enthused by Molko's talent, the native Swede insisted on making common cause with the Briton. They borrowed the name of the project from one of the most bizarre outsiders in rock history. "𝐼𝑡 𝑐𝑎𝑚𝑒 𝑓𝑟𝑜𝑚 𝑎 𝐶𝑎𝑝𝑡𝑎𝑖𝑛 𝐵𝑒𝑒𝑓ℎ𝑒𝑎𝑟𝑡 𝑙𝑖𝑛𝑒," Olsdal recalls of the band's first name. "𝑆ℎ𝑒 𝑢𝑠𝑒𝑑 𝑚𝑒 𝑙𝑖𝑘𝑒 𝑎𝑛 𝑎𝑠ℎ𝑡𝑟𝑎𝑦 ℎ𝑒𝑎𝑟𝑡". With Placebo, the two men came up with an even catchier name. "𝑌𝑜𝑢 𝑐𝑎𝑛 𝑖𝑚𝑎𝑔𝑖𝑛𝑒 ℎ𝑜𝑤 40,000 𝑝𝑒𝑜𝑝𝑙𝑒 𝑠ℎ𝑜𝑢𝑡 𝑖𝑡 𝑜𝑢𝑡...", the bassist explains. Ashtray Heart, however, is also the title of a song on the album Battle for the Sun. The lyrics clearly allude to Captain Beefheart and his Magic Band.

🎵𝑪𝒂𝒑𝒕𝒂𝒊𝒏 𝑩𝒆𝒆𝒇𝒉𝒆𝒂𝒓𝒕 ⭐ https://bit.ly/3SgL2Vh

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UAklwk

Photo credit: Pat Pope

🟣 𝗗𝗲𝗽𝗲𝗰𝗵𝗲 𝗠𝗼𝗱𝗲 – 𝗜 𝗙𝗲𝗲𝗹 𝗬𝗼𝘂

◾Outsider or not: with their first album Placebo, the trio - which included Schultzberg alongside Molko and Olsdal - was a real hit. But now the two leaders of the band are not entirely satisfied with their first work. They find much of what got them media attention at the time too pop, too punk, too adolescent. They were compared to the first post-punk generation, when the inspiration was quite different.

◾"𝑊𝑒 𝑡𝑟𝑖𝑒𝑑 𝑡𝑜 𝑡𝑎𝑘𝑒 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ 𝑎𝑛𝑑 𝐷𝑒𝑝𝑒𝑐ℎ𝑒 𝑀𝑜𝑑𝑒, 𝑡ℎ𝑟𝑜𝑤 𝑡ℎ𝑒𝑚 𝑎𝑔𝑎𝑖𝑛𝑠𝑡 𝑡ℎ𝑒 𝑤𝑎𝑙𝑙 𝑎𝑛𝑑 𝑠𝑒𝑒 𝑤ℎ𝑎𝑡 𝑤𝑜𝑢𝑙𝑑 𝑠𝑡𝑖𝑐𝑘," Molko recalls in an interview. American no wave here, British new wave there: clearly Placebo had absolutely nothing to do with the galloping Britpop trend, nor did they want to. But they have remained true to Depeche Mode throughout their career. In 2003, they covered the then ten-year-old song I Feel You from Depeche Mode's seminal album Songs of Faith and Devotion.

🎵𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆 ⭐ https://bit.ly/3RfOVIB

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UFCbye

♪ ¨♪ ¨♪


🟣 𝗧𝗵𝗲 𝗦𝗺𝗶𝘁𝗵𝘀 – 𝗕𝗶𝗴𝗺𝗼𝘂𝘁𝗵 𝗦𝘁𝗿𝗶𝗸𝗲𝘀 𝗔𝗴𝗮𝗶𝗻

◾Unlike their Britpop contemporaries, who found their inspiration mainly in the sixties and seventies, Placebo either orientated themselves directly to the pulse of the present, or to the exciting early days of the British indie sound. So it's no surprise that the B-side of their 1997 single Nancy Boy contains a cover of indie heroes The Smiths, Bigmouth Strikes Again. Molko's nasally, decidedly androgynous voice seemed a perfect update to Morrissey's iodised vocal style.


◾Like Britpop after them, the Smiths represented a certain image of British culture with which Placebo could not and would not be associated. But in the romantic gestures of Morrissey's band and guitar genius Johnny Marr, Molko and his pals found something else: style. Few bands embodied musical and lyrical elegance as confidently as the Smiths.

🎵𝑻𝒉𝒆 𝑺𝒎𝒊𝒕𝒉𝒔 ⭐ https://bit.ly/3R9QZSD

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3fiQIzx

Photo credit: Nadav Kander

🟣 𝗦𝘂𝗲𝗱𝗲 – 𝗧𝗵𝗲 𝗕𝗲𝗮𝘂𝘁𝗶𝗳𝘂𝗹 𝗢𝗻𝗲𝘀

◾Speaking of "Bigmouth": sometimes Molko would have preferred - like Morrissey - to keep his mouth shut. About what ? Well, about his bisexuality, which also became a declaration of war in Nancy Boy. "I've always been open about my sexuality, because I was quite a go-getter in the early days of Placebo," he admits quietly. "My coming-out felt important to take a stand. Looking back a quarter of a century, it's fair to say that Molko did exactly the right thing: Placebo started a small revolution.

◾But they were not alone. Suede established themselves in the late eighties and early nineties with a sound that is considered a precursor to the Britpop movement. But Suede also liked to flirt with the glam-rock aesthetic and play with his sexuality. "I'm a bisexual man who has never had a homosexual experience," frontman Brett Anderson once proclaimed. It is this phrase that would have inspired Nancy Boy.

🎵𝑺𝒖𝒆𝒅𝒆 - 𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑶𝒏𝒆𝒔 ⭐ https://bit.ly/3UDbZEk

♪ ¨♪ ¨♪


🟣 𝗗𝗮𝘃𝗶𝗱 𝗕𝗼𝘄𝗶𝗲 – 𝗪𝗵𝗲𝗿𝗲 𝗔𝗿𝗲 𝗪𝗲 𝗡𝗼𝘄 ?

◾Suede and Placebo were far from the only ones to openly embrace their fluid interpretation of male sexuality. Their master mind was David Bowie. Much has been said and written about Bowie's sexuality, not all of it positive: he is said to have had sex with minors, and there are whispers that his concessions to bisexuality were just a publicity stunt. In any case: by bringing a new image of masculinity to the stage and by transforming himself from time to time, he became a role model for entire generations.

◾In 1996, Bowie invited Placebo on a joint tour and even appeared in an alternative version of the title track from their album Without You I'm Nothing. "𝑊𝑒 𝑜𝑤𝑒 𝑖𝑡 𝑎𝑙𝑙 𝑡𝑜 𝑀𝑜𝑟𝑟𝑖𝑠𝑠𝑒𝑦," Molko revealed to the press. Moz played his colleague a demo of the band before Placebo was even released. He was thrilled. "𝐼 𝑚𝑢𝑠𝑡 ℎ𝑎𝑣𝑒 𝑏𝑒𝑒𝑛 24 𝑜𝑟 25 𝑦𝑒𝑎𝑟𝑠 𝑜𝑙𝑑 - 𝑖𝑡 𝑑𝑖𝑑 𝑚𝑦 𝑒𝑔𝑜 𝑎 𝑙𝑜𝑡 𝑜𝑓 𝑔𝑜𝑜𝑑," says Molko. The hero became a friend, his influence remained constant. "𝐼𝑓 𝐵𝑜𝑤𝑖𝑒 𝑟𝑒𝑐𝑜𝑟𝑑𝑒𝑑 𝑎𝑛 𝑎𝑙𝑏𝑢𝑚 𝑐𝑜𝑚𝑝𝑙𝑒𝑡𝑒𝑙𝑦 𝑎𝑛𝑜𝑛𝑦𝑚𝑜𝑢𝑠𝑙𝑦 [...] 𝑎𝑛𝑑 𝑐𝑎𝑚𝑒 𝑏𝑎𝑐𝑘 𝑤𝑖𝑡ℎ 𝑎 𝑠𝑜𝑛𝑔 𝑙𝑖𝑘𝑒 𝑊ℎ𝑒𝑟𝑒 𝐴𝑟𝑒 𝑊𝑒 𝑁𝑜𝑤 ? 𝑤𝑜𝑢𝑙𝑑 𝑐𝑜𝑚𝑒 𝑏𝑎𝑐𝑘, 𝑡ℎ𝑒𝑛 𝑡ℎ𝑒𝑟𝑒 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 ℎ𝑜𝑝𝑒 𝑓𝑜𝑟 𝑢𝑠. [...] 𝑇𝑜𝑢𝑐ℎ𝑒́. 𝑊𝑒𝑙𝑙 𝑑𝑜𝑛𝑒, 𝐷𝑎𝑣𝑖𝑑," he said of his colleague in 2013, when Placebo had to reinvent itself.

🎵𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 - 𝑾𝒉𝒆𝒓𝒆 𝑨𝒓𝒆 𝑾𝒆 𝑵𝒐𝒘 ? ⭐ https://bit.ly/3fjnh03

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒂𝒏𝒅 𝒅𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 - 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈 ⭐ https://bit.ly/3BGhfhG

Photo credit: Scarlet Page

🟣 𝗧-𝗥𝗲𝘅 – 𝟮𝟬𝘁𝗵 𝗖𝗲𝗻𝘁𝘂𝗿𝘆 𝗕𝗼𝘆

◾Not surprisingly, the band, and Molko in particular, were badly shaken by Bowie's death only three years later. "𝑊ℎ𝑒𝑟𝑒𝑣𝑒𝑟 𝑦𝑜𝑢 𝑎𝑟𝑒 𝑛𝑜𝑤, 𝐼 𝑚𝑖𝑠𝑠 𝑦𝑜𝑢," Molko wrote on the band's Facebook page. "𝐼 𝑑𝑜𝑛'𝑡 𝑗𝑢𝑠𝑡 𝑚𝑖𝑠𝑠 𝑦𝑜𝑢, 𝑚𝑦 ℎ𝑒𝑎𝑟𝑡 𝑖𝑠 𝑏𝑟𝑜𝑘𝑒𝑛. 𝑌𝑜𝑢 𝑤𝑒𝑟𝑒 𝑚𝑦 𝑖𝑑𝑜𝑙, 𝑡ℎ𝑒𝑛 𝑦𝑜𝑢 𝑏𝑒𝑐𝑎𝑚𝑒 𝑚𝑦 𝑚𝑒𝑛𝑡𝑜𝑟 𝑎𝑛𝑑 𝑓𝑟𝑖𝑒𝑛𝑑." The band has repeatedly shown how much Bowie influenced them. This is particularly true of their participation in the film Velvet Goldmine, loosely based on Bowie's life.

◾The band made several guest star appearances in this cult film, and can also be heard on the soundtrack. For Velvet Goldmine, they recorded a cover of T-Rex's 20th Century Boy, Marc Bolan's glam rock classic. Although the garish aesthetic of glam rock is undoubtedly one of Placebo's main influences, the band has never been content with trying to revive this short-lived genre.

🎵𝑻-𝑹𝒆𝒙 ⭐ https://bit.ly/3xTsu5h

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3Sy8n4K

♪ ¨♪ ¨♪


🟣 𝗕𝗼𝗯 𝗗𝘆𝗹𝗮𝗻 – 𝗠𝗮𝗴𝗴𝗶𝗲’𝘀 𝗙𝗮𝗿𝗺

◾The Black Market Music album was the first time Placebo had expressed their full potential. Although Molko is upset about the poor production sound of this groundbreaking record, he cannot deny that his band has rarely sounded more coherent. In terms of content, too, Placebo were able for the first time to realise what their mastermind had in mind, weaving dense, lyrical lyrics that had no pubescent charge.

◾In the song Slave to the Wage, for example, Molko describes, over Olsdal's feverish bass riff, the bleak daily reality of a 9 to 5. There is no doubt that as rock stars, a settled working life meant pure hell for the trio - at the time Steve Hewitt was still behind the gun range. As well as the distinctive guitar sound of Pavements Texas Never Whispers, which Placebo sampled for the track, the text also alludes to Bob Dylan's Maggie's Farm: '𝘚𝘪𝘤𝘬 𝘢𝘯𝘥 𝘵𝘪𝘳𝘦𝘥 𝘰𝘧 𝘔𝘢𝘨𝘨𝘪𝘦'𝘴 𝘧𝘢𝘳𝘮 / 𝘚𝘩𝘦'𝘴 𝘢 𝘣𝘪𝘵𝘤𝘩, 𝘸𝘪𝘵𝘩 𝘣𝘳𝘰𝘬𝘦𝘯 𝘢𝘳𝘮𝘴 𝘵𝘰 𝘸𝘢𝘷𝘦 / 𝘠𝘰𝘶𝘳 𝘸𝘰𝘳𝘳𝘪𝘦𝘴, 𝘢𝘯𝘥 𝘤𝘢𝘳𝘦𝘴, 𝘨𝘰𝘰𝘥𝘣𝘺𝘦'. The great Dylan had finally shown what a life for and through music could be like. Goodbye to making a living !

🎵𝑩𝒐𝒃 𝑫𝒚𝒍𝒂𝒏 - 𝒎𝒂𝒈𝒈𝒊𝒆'𝒔 𝑭𝒂𝒓𝒎 ⭐https://bit.ly/2mhKWT7

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 - 𝑺𝒍𝒂𝒗𝒆 𝑻𝒐 𝑻𝒉𝒆 𝑾𝒂𝒈𝒆 ⭐ https://bit.ly/3Sx2BAk

Photo credit: Joseph Llanes

🟣 𝗣𝗝 𝗛𝗮𝗿𝘃𝗲𝘆 – 𝗛𝗮𝗿𝗱𝗹𝘆 𝗪𝗮𝗶𝘁

◾It is clear that Placebo has always represented and still represents a certain attitude to life. Outsiders on the one hand, creative and full of energy on the other. No wonder Placebo also loves PJ Harvey. When the band presented a cover of Hardly Wait - first released in 1993 on Harvey's legendary 4-track demo LP - on the B-side of their single The Never-Ending Why in 2009, it was a long-overdue tribute to the fantastic Polly Jean.

◾Molko discovered Harvey early on: when their first album Dry was released in 1992, he was immediately excited. "𝐼𝑡 𝑐𝑎𝑚𝑒 𝑜𝑢𝑡 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑎𝑠 𝑗𝑢𝑠𝑡 𝑜𝑢𝑡 𝑜𝑓 𝑐𝑜𝑙𝑙𝑒𝑔𝑒," he recalls in an interview with New Musical Express. "𝐼𝑡 𝑠𝑜𝑢𝑛𝑑𝑒𝑑 𝑟𝑎𝑤 𝑎𝑛𝑑 𝑜𝑢𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑔𝑢𝑡. 𝑇ℎ𝑒 𝑟𝑒𝑐𝑜𝑟𝑑 𝑖𝑡𝑠𝑒𝑙𝑓 𝑠𝑜𝑢𝑛𝑑𝑠 𝑠𝑜 𝑢𝑛𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑎𝑛𝑑 𝑟𝑒𝑎𝑙. 𝐼 𝑓𝑒𝑙𝑙 𝑖𝑛 𝑙𝑜𝑣𝑒 𝑤𝑖𝑡ℎ 𝑃𝑜𝑙𝑙𝑦 𝐻𝑎𝑟𝑣𝑒𝑦 𝑖𝑛 𝑡ℎ𝑒 ℎ𝑒𝑎𝑑, 𝑎𝑛𝑑 𝐼 𝑤𝑒𝑛𝑡 𝑐𝑟𝑎𝑧𝑦 𝑓𝑜𝑟 ℎ𝑒𝑟 𝑚𝑢𝑠𝑖𝑐." Vulnerable but strong music - that's what Placebo had in mind when they recorded their first album. But they couldn't match Harvey. But who can ?

🎵𝑷𝑱 𝑯𝒂𝒓𝒗𝒆𝒚 ⭐ https://bit.ly/3dAgIGh

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UBeNSl

♪ ¨♪ ¨♪


🟣 𝗞𝗮𝘁𝗲 𝗕𝘂𝘀𝗵 – 𝗥𝘂𝗻𝗻𝗶𝗻𝗴 𝗨𝗽 𝗧𝗵𝗮𝘁 𝗛𝗶𝗹𝗹 (𝗔 𝗗𝗲𝗮𝗹 𝗪𝗶𝘁𝗵 𝗚𝗼𝗱)

◾Well, maybe Kate Bush. The latter's hit Running Up That Hill (A Deal With God) is also an integral part of the Placebo repertoire. Their cover was first released as a bonus track on the US version of the Meds album and quickly became a fan favourite. "We cover songs that we love," said Olsdal. "We do it for fun in B-side sessions. We've covered a lot of bands, especially from the eighties. Depeche Mode and even Robert Palmer. Their version of Running Up That Hill, however, was to be very special.

◾"We're huge fans of Kate Bush and when it comes to this song, we think the lyrics have real depth, which is not noticeable in the original because she sings so fast," Olsdal explained of his band's approach. "𝑊𝑒 𝑠𝑙𝑜𝑤𝑒𝑑 𝑖𝑡 𝑑𝑜𝑤𝑛 𝑎𝑛𝑑 𝑖𝑡 𝑓𝑒𝑙𝑡 𝑟𝑒𝑎𝑙𝑙𝑦 𝑔𝑜𝑜𝑑. 𝑊𝑒 𝑤𝑒𝑟𝑒 𝑣𝑒𝑟𝑦 𝑝𝑟𝑜𝑢𝑑 𝑜𝑓 𝑖𝑡. 𝐵𝑢𝑡 𝑤ℎ𝑎𝑡 𝑑𝑖𝑑 𝐵𝑢𝑠ℎ ℎ𝑖𝑚𝑠𝑒𝑙𝑓 𝑡ℎ𝑖𝑛𝑘? "𝑊𝑒 𝑚𝑒𝑡 ℎ𝑒𝑟 𝑎𝑛𝑑 𝑤𝑒𝑟𝑒 𝑡𝑜𝑡𝑎𝑙𝑙𝑦 𝑟𝑒𝑙𝑖𝑒𝑣𝑒𝑑 𝑤ℎ𝑒𝑛 𝑠ℎ𝑒 𝑡𝑜𝑙𝑑 𝑢𝑠 𝑠ℎ𝑒 𝑙𝑖𝑘𝑒𝑑 𝑖𝑡". Well, it all worked out !

🎵𝑲𝒂𝒕𝒆 𝑩𝒖𝒔𝒉 ⭐ https://bit.ly/3RaoNz0

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3SdpcBY

Photo credit: Mary Scanlon

🟣 𝗕𝗹𝗮𝗰𝗸𝗺𝗮𝗶𝗹 – 𝗠𝗼𝗼𝗻𝗽𝗶𝗴𝘀

◾Placebo has always been open to its influences, has dedicated solemn covers to its heroes and heroines and has always shown them respect, even behind the scenes. The same cannot be said for the bands who, for their part, owe a lot to Placebo. "You lose hair", Blackmail singer Aydo Abay is said to have joked to Brian Molko when he met the Briton backstage at the Melt! festival one day. Is this true? We don't know.

◾But what is certain is that the Koblenz band, which debuted a year after Placebo, has always reacted with annoyance to the incessant comparisons with Placebo. "𝐴ℎ, 𝑛𝑜𝑡 𝑡ℎ𝑎𝑡 𝑎𝑔𝑎𝑖𝑛," moaned Carlos Ebelhäuser, the band's bassist, when the conversation turned to Abay's singing in an interview. "𝑇ℎ𝑒𝑦 ℎ𝑎𝑣𝑒 𝑎 𝑠𝑖𝑚𝑖𝑙𝑎𝑟 𝑣𝑜𝑖𝑐𝑒, 𝑏𝑢𝑡 𝐴𝑦𝑑𝑜 𝑠𝑖𝑛𝑔𝑠 𝑚𝑢𝑐ℎ 𝑏𝑒𝑡𝑡𝑒𝑟 𝑎𝑛𝑑 𝑑𝑜𝑒𝑠𝑛'𝑡 ℎ𝑎𝑣𝑒 𝑡ℎ𝑎𝑡 𝑑𝑖𝑠𝑔𝑢𝑠𝑡𝑖𝑛𝑔 𝑡𝑜𝑛𝑒," it was said. "𝐴𝑛𝑑 𝑚𝑢𝑠𝑖𝑐𝑎𝑙𝑙𝑦 𝑤𝑒 𝑎𝑟𝑒 𝑎𝑙𝑠𝑜 𝑣𝑒𝑟𝑦 𝑑𝑖𝑓𝑓𝑒𝑟𝑒𝑛𝑡. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑡𝑜𝑜 𝑝𝑜𝑝, 𝑤𝑒 ℎ𝑎𝑣𝑒 𝑏𝑒𝑡𝑡𝑒𝑟 𝑔𝑢𝑖𝑡𝑎𝑟𝑠. 𝑊𝑖𝑡ℎ 𝑠𝑜𝑛𝑔𝑠 𝑙𝑖𝑘𝑒 𝑀𝑜𝑜𝑛𝑝𝑖𝑔𝑠, 𝑦𝑜𝑢 𝑐𝑎𝑛 𝑐𝑙𝑒𝑎𝑟𝑙𝑦 ℎ𝑒𝑎𝑟 𝑤ℎ𝑎𝑡 𝐸𝑏𝑒𝑙ℎ𝑎̈𝑢𝑠𝑒𝑟 𝑚𝑒𝑎𝑛𝑠. 𝐵𝑢𝑡 𝑤𝑖𝑡ℎ 𝑙𝑖𝑛𝑒𝑠 𝑙𝑖𝑘𝑒 "𝘌𝘷𝘦𝘳𝘺𝘰𝘯𝘦 𝘨𝘦𝘵 𝘪𝘯 / 𝘌𝘷𝘦𝘯 𝘢𝘭𝘭 𝘺𝘰𝘶 𝘮𝘪𝘴𝘧𝘪𝘵𝘴", his band has always made it clear that they are dedicated to the marginalized, just like their British colleagues. That's something to live with - isn't it ?

🎵𝑩𝒍𝒂𝒄𝒌𝒎𝒂𝒊𝒍 - 𝑴𝒐𝒐𝒏𝒑𝒊𝒈𝒔 ⭐ https://bit.ly/3BKSCjN

✔️ 𝚄𝙳𝚒𝚜𝚌𝚘𝚟𝚎𝚛 - 𝙼𝚊𝚛𝚌𝚑 𝟸0, 𝟸0𝟷𝟾

•♬• ♬• ♬• ♬• ♬• ♬•


🧬 𝙄𝙩'𝙨 𝙫𝙚𝙧𝙮 𝙞𝙣𝙩𝙚𝙧𝙚𝙨𝙩𝙞𝙣𝙜 𝙞𝙨𝙣'𝙩 𝙞𝙩 ?

🧬 On the other hand, I find that the comparison with glam rock is often overemphasized despite Brian, Stefan and Steve Hewitt's constant reminders (at the time) that this musical genre was never a major influence on their music. I strongly believe that if they had never made an appearance in Velvet Goldmine, the glam image would not have stuck to Placebo so much. I may be wrong, but Placebo would never have covered 20th Cebtury Boy if not for Todd Haynes' film. Of course, David Bowie was one of the main artists to use these glam tendencies and to play them to excess, but this is not what influenced Placebo, as Brian reminded us during an interview in Paris in 1998:

𝑍𝑖𝑔𝑔𝑦 𝑆𝑡𝑎𝑟𝑑𝑢𝑠𝑡 𝑐𝑎𝑚𝑒 𝑜𝑢𝑡 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑎𝑠 𝑜𝑛𝑒 𝑦𝑒𝑎𝑟 𝑜𝑙𝑑. 𝑊𝑒 𝑎𝑟𝑒 𝑡𝑜𝑜 𝑦𝑜𝑢𝑛𝑔 𝑡𝑜 𝑟𝑒𝑚𝑒𝑚𝑏𝑒𝑟 𝐺𝑙𝑎𝑚. 𝑇ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑜𝑓 𝑜𝑢𝑟 𝑐ℎ𝑖𝑙𝑑ℎ𝑜𝑜𝑑 𝑤𝑎𝑠 𝑑𝑖𝑠𝑐𝑜. 𝐺𝑙𝑎𝑚 ℎ𝑎𝑑 𝑛𝑜 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑢𝑠.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙻𝚊 𝚗𝚞𝚒𝚝 𝚍𝚞 𝙶𝚕𝚊𝚖 𝚊𝚝 𝙲𝚊𝚗𝚊𝚕 𝙹𝚒𝚖𝚖𝚢 (𝟷𝟿𝟿𝟾)

Photo credit: Kevin Cummins

🧬 𝑫𝒊𝒔𝒄𝒐 ! That's exactly what's missing in this listing by UDiscover. No need to remind you of the excellent cover of Daddy Cool, a song by Boney M which surprised more than one fan ! At least, I was :D . The band members grew up in the 80's, when disco was in full swing.

𝑩𝒐𝒏𝒆𝒚 𝑴 https://bit.ly/3BHu4Zc

𝑷𝒍𝒂𝒄𝒆𝒃𝒐 https://bit.ly/3StDK0e

𝑩𝒚 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈 '𝑫𝒂𝒅𝒅𝒚 𝑪𝒐𝒐𝒍' 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑩𝑶𝑵𝑬𝒀 𝑴 𝒓𝒆𝒑𝒆𝒓𝒕𝒐𝒊𝒓𝒆, 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒑𝒓𝒐𝒗𝒆 𝒊𝒏 𝒔𝒐𝒎𝒆 𝒘𝒂𝒚 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒂𝒓𝒆 𝒏𝒐𝒕 𝒆𝒕𝒆𝒓𝒏𝒂𝒍𝒍𝒚 𝒔𝒖𝒇𝒇𝒆𝒓𝒊𝒏𝒈 𝒉𝒆𝒂𝒓𝒕𝒃𝒓𝒐𝒌𝒆𝒏 𝒈𝒖𝒚𝒔, 𝒃𝒖𝒕 𝒑𝒆𝒐𝒑𝒍𝒆 𝒘𝒉𝒐 𝒂𝒍𝒔𝒐 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒉𝒂𝒗𝒆 𝒇𝒖𝒏?

𝑀𝑎𝑦𝑏𝑒 𝑡ℎ𝑒𝑟𝑒 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑛𝑜𝑡ℎ𝑖𝑛𝑔 𝑡𝑜 𝑝𝑟𝑜𝑣𝑒, 𝑏𝑢𝑡 𝑠𝑜𝑚𝑒 𝑝𝑒𝑜𝑝𝑙𝑒 ℎ𝑎𝑣𝑒 𝑡ℎ𝑒 𝑤𝑟𝑜𝑛𝑔 𝑖𝑑𝑒𝑎 𝑎𝑏𝑜𝑢𝑡 𝑃𝐿𝐴𝐶𝐸𝐵𝑂. 𝑇ℎ𝑒𝑦 𝑡ℎ𝑖𝑛𝑘 𝑤𝑒 𝑎𝑙𝑤𝑎𝑦𝑠 𝑤𝑒𝑎𝑟 𝑏𝑙𝑎𝑐𝑘 𝑎𝑛𝑑 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑆𝑎𝑡𝑎𝑛.

𝐶𝑒𝑟𝑡𝑎𝑖𝑛𝑙𝑦 𝑎 𝑙𝑜𝑡 𝑜𝑓 𝑝𝑒𝑜𝑝𝑙𝑒 𝑤𝑒𝑟𝑒 𝑠𝑢𝑟𝑝𝑟𝑖𝑠𝑒𝑑 𝑏𝑦 𝑡ℎ𝑖𝑠 𝑠𝑜𝑛𝑔, 𝑏𝑢𝑡 𝑡ℎ𝑖𝑠 𝑖𝑠 𝑡ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑤𝑒 𝑔𝑟𝑒𝑤 𝑢𝑝 𝑤𝑖𝑡ℎ. 𝐼𝑓 𝑚𝑦 𝑝𝑎𝑟𝑒𝑛𝑡𝑠 𝑤𝑒𝑟𝑒 ℎ𝑎𝑣𝑖𝑛𝑔 𝑎 𝑝𝑎𝑟𝑡𝑦 𝑜𝑛 𝑆𝑎𝑡𝑢𝑟𝑑𝑎𝑦 𝑛𝑖𝑔ℎ𝑡, 𝑡ℎ𝑒𝑦 𝑤𝑜𝑢𝑙𝑑 𝑑𝑒𝑓𝑖𝑛𝑖𝑡𝑒𝑙𝑦 𝑏𝑒 𝑝𝑙𝑎𝑦𝑖𝑛𝑔 𝐵𝑂𝑁𝐸𝑌 𝑀., 𝑎𝑛𝑑 𝐼 𝑤𝑜𝑢𝑙𝑑 ℎ𝑎𝑣𝑒 𝑏𝑒𝑒𝑛 𝑑𝑎𝑛𝑐𝑖𝑛𝑔 𝑠𝑜𝑚𝑒𝑤ℎ𝑒𝑟𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑜𝑟𝑛𝑒𝑟 ... 𝑡ℎ𝑒 𝑜𝑡ℎ𝑒𝑟𝑠 𝑝𝑟𝑜𝑏𝑎𝑏𝑙𝑦 𝑤𝑜𝑢𝑙𝑑 𝑡𝑜𝑜.

𝐼𝑡'𝑠 𝑗𝑢𝑠𝑡 𝑎 𝑠𝑜𝑛𝑔 𝑡ℎ𝑎𝑡 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑤𝑖𝑡ℎ 𝑢𝑠 𝑓𝑜𝑟𝑒𝑣𝑒𝑟 𝑎𝑛𝑑 𝑡ℎ𝑎𝑡 𝑤𝑒 𝑙𝑖𝑘𝑒 𝑡𝑜 𝑑𝑎𝑛𝑐𝑒 𝑡𝑜. 𝐼𝑡 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑚𝑒𝑎𝑛 𝑤𝑒 𝑙𝑖𝑘𝑒 𝑎𝑙𝑙 𝑡ℎ𝑒 𝑠𝑜𝑛𝑔𝑠 𝑏𝑦 𝐵𝑂𝑁𝐸𝑌 𝑀., 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 𝑠𝑜𝑚𝑒 ... 𝑎𝑟𝑒𝑛'𝑡 𝑡ℎ𝑎𝑡 𝑔𝑜𝑜𝑑.

𝐴𝑙𝑠𝑜, 𝑡ℎ𝑖𝑠 𝑠𝑜𝑛𝑔 𝑤𝑎𝑠 𝑎 𝑏𝑖𝑟𝑡ℎ𝑑𝑎𝑦 𝑝𝑟𝑒𝑠𝑒𝑛𝑡 𝑓𝑜𝑟 𝑆𝑇𝐸𝑉𝐸'𝑠 𝑑𝑎𝑢𝑔ℎ𝑡𝑒𝑟 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 ℎ𝑒 𝑤𝑎𝑠 𝑎𝑙𝑤𝑎𝑦𝑠 𝑠𝑢𝑐ℎ 𝑎 "𝐷𝑎𝑑𝑑𝑦 𝐶𝑜𝑜𝑙". 𝑊ℎ𝑒𝑛 𝑤𝑒 𝑟𝑒𝑐𝑜𝑟𝑑𝑒𝑑 𝑖𝑡, 𝑖𝑡 𝑡𝑢𝑟𝑛𝑒𝑑 𝑜𝑢𝑡 𝑡𝑜 𝑏𝑒 𝑝𝑟𝑒𝑡𝑡𝑦 𝑔𝑜𝑜𝑑. 𝑀𝑜𝑟𝑒𝑜𝑣𝑒𝑟, 𝑖𝑡 𝑖𝑠 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑠𝑜𝑛𝑔 𝑤ℎ𝑒𝑟𝑒 𝑆𝑇𝐸𝑉𝐸 𝑠𝑖𝑛𝑔𝑠 𝑖𝑛 𝑎 𝑑𝑢𝑒𝑡 𝑤𝑖𝑡ℎ 𝐵𝑅𝐼𝐴𝑁."
✔️ 𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕 - 𝙻𝚒𝚜𝚝𝚎𝚗 𝚝𝚘 𝚢𝚘𝚞𝚛 𝚑𝚎𝚊𝚛𝚝 𝚊𝚝 𝚊𝚕𝚕 𝚌𝚘𝚜𝚝𝚜 - 𝙿𝚘𝚕𝚊𝚗𝚍 - 𝟸00𝟹


♪ ¨♪ ¨♪

🧬 Also missing is 𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉, so loved and quoted by Brian in interviews since the beginning of Placebo's career. This great band that made Brian want to become what he is today.

𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉 - 𝑫𝒊𝒓𝒕𝒉𝒚 𝑩𝒐𝒐𝒕𝒔 https://bit.ly/3dGKJ7g

𝑇ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑖𝑚𝑒 𝐼 ℎ𝑒𝑎𝑟𝑑 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ 𝑤𝑎𝑠 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑖𝑚𝑝𝑜𝑟𝑡𝑎𝑛𝑡 𝑡ℎ𝑖𝑛𝑔 𝑓𝑜𝑟 𝑚𝑒. 𝐼𝑡 𝑤𝑎𝑠 𝑚𝑦 16𝑡ℎ 𝑏𝑖𝑟𝑡ℎ𝑑𝑎𝑦 𝑎𝑛𝑑 𝐼 𝑤𝑎𝑠 𝑣𝑒𝑟𝑦 𝑠𝑡𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝐼'𝑑 𝑛𝑒𝑣𝑒𝑟 𝑟𝑒𝑎𝑙𝑙𝑦 ℎ𝑒𝑎𝑟𝑑 𝑎𝑛𝑦𝑡ℎ𝑖𝑛𝑔 𝑙𝑖𝑘𝑒 𝑖𝑡 𝑏𝑒𝑓𝑜𝑟𝑒 𝑖𝑛 𝑚𝑦 𝑙𝑖𝑓𝑒. 𝑇ℎ𝑎𝑡 𝑤𝑎𝑠 𝑡ℎ𝑒 𝑦𝑒𝑎𝑟 𝑡ℎ𝑎𝑡 𝐼 𝑠𝑡𝑎𝑟𝑡𝑒𝑑 𝑝𝑙𝑎𝑦𝑖𝑛𝑔 𝑔𝑢𝑖𝑡𝑎𝑟 𝑠𝑜 𝑡ℎ𝑎𝑡 ℎ𝑎𝑑 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑏𝑖𝑔 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑚𝑒. 𝐴𝑓𝑡𝑒𝑟 𝐼 𝑚𝑜𝑣𝑒𝑑 𝑡𝑜 𝐿𝑜𝑛𝑑𝑜𝑛, 𝐼 ℎ𝑒𝑎𝑟𝑑 𝑃𝐽 𝐻𝑎𝑟𝑣𝑒𝑦 𝑓𝑜𝑟 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑖𝑚𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 𝑖𝑛𝑡𝑒𝑛𝑠𝑖𝑡𝑦 𝑎𝑛𝑑 𝑑𝑒𝑝𝑡ℎ 𝑜𝑓 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚 𝐷𝑟𝑦 𝑎𝑙𝑠𝑜 ℎ𝑎𝑑 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑏𝑖𝑔 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑚𝑒. 𝐼 𝑔𝑢𝑒𝑠𝑠 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑒𝑛𝑡 𝑖𝑛𝑡𝑜 𝑡ℎ𝑒 𝑖𝑑𝑒𝑎 𝑜𝑓 𝑎 𝑏𝑎𝑛𝑑 𝐼 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑤𝑎𝑛𝑡𝑒𝑑 𝑡𝑜 𝑚𝑎𝑟𝑟𝑦 𝑡ℎ𝑒 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑑𝑖𝑠𝑠𝑜𝑛𝑎𝑛𝑡, 𝑎𝑡𝑜𝑛𝑎𝑙 𝑏𝑒𝑎𝑢𝑡𝑦 𝑜𝑓 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ'𝑠 𝑒𝑥𝑝𝑒𝑟𝑖𝑚𝑒𝑛𝑡𝑎𝑙𝑖𝑠𝑚 𝑤𝑖𝑡ℎ 𝑎 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑝𝑎𝑖𝑛𝑒𝑑 𝑐𝑜𝑛𝑓𝑒𝑠𝑠𝑖𝑜𝑛𝑎𝑙 𝑎𝑛𝑑 ℎ𝑖𝑔ℎ𝑙𝑦 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 𝑞𝑢𝑎𝑙𝑖𝑡𝑦 𝑡ℎ𝑎𝑡 𝑃𝐽 𝐻𝑎𝑟𝑣𝑒𝑦'𝑠 𝑚𝑢𝑠𝑖𝑐 ℎ𝑎𝑠."
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚊𝚜𝚜𝚒𝚟𝚎 𝙼𝚊𝚐𝚊𝚣𝚒𝚗𝚎 - 𝙸𝚗𝚜𝚙𝚒𝚛𝚒𝚗𝚐 𝙸𝚕𝚕 𝚆𝚒𝚕𝚕" - 𝙰𝚙𝚛𝚒𝚕 𝟿𝟿

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