Richard Russell
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Male
37 years old
United Kingdom
Last Login:
4/27/2008
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http://www.myspace.com/richardrussellxl |
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Richard Russell 's Details
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| Status: | In a Relationship | | Zodiac Sign: | Pisces | |
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Richard Russell 's Blurbs |
About me:
When XL was born, back in the heady Acid House days of 1989, it specialised in the D.I.Y. hardcore rave sounds that were coming from London's suburbs. Richard Russell was a teenager, making records and DJ'ing on pirate radio and in clubs. Alongside other independents like Shut Up And Dance and Suburban Bass, XL helped shape a sound that was equally influenced by American urban music, Jamaican dub and reggae, and European electronic sounds. Their noisy, abrasive records were shunned by all media and had a fuck you aesthetic reminiscent of the two other great D.I.Y music movements- punk and hip hop. The scene was about home recording, white label record releases, pirate radio and illegal raves.
This spirit is neatly encapsulated by The Prodigy's Experience LP, the work of an Essex teenager, Liam Howlett, who recorded at home and borrowed samples from sources as diverse as Max Romeo, Ultramagnetic MC's and childrens TV programmes. His follow-up LP Music For The Jilted Generation, with its more sophisticated production and arrangements, stands up as one of the definitive works of electronic music.
In 1997 The Prodigy delivered their world-wide breakthrough LP, The Fat Of The Land; it charted at number one in 26 countries including the U.S.
Whilst continuing his unique partnership with Martin Mills' Beggars Group, Russell re-located XL from Beggars London H.Q. in Wandsworth to XLs own offices off Ladbroke Grove in London, W11.
Basement Jaxx were their next platinum artist; and Badly Drawn Boy's Mercury Prize winning debut album The Hour Of Bewilderbeast broadened their musical horizons further.
Next came classic albums by artists including Leila, Peaches, The Avalanches, Gotan Project and Lemon Jelly.
Then came Dizzee Rascal. His perceptive lyrics and groundbreaking production made his Mercury Prize winning album Boy In Da Corner every bit as uncompromising, uncouth and innovative as The Prodigy's early work. Like The Prodigy, Dizzee rose from the street, via pirate radio and raves, to critical acclaim and mainstream success; and with their respective homes of Bow, E3 and Braintree, Essex they grew up only a few miles apart.
XL were sufficiently taken with a Detroit duo called The White Stripes to license their first 3 LPs; when Jack and Meg delivered their fourth LP, the number one multi-platinum 2003 release Elephant, they became perhaps the most original and important new rock group in the world. In 2005 they released their fifth album "Get Behind Me Satan", and with its accompanying hit singles like "My Doorbell" and " Blue Orchid", and the unmatchable live shows and videos they delivered, they cemented their permanent place in the rock pantheon.
Last year Jack White (alongside his friends Brendan Benson, Jack Lawrence and Patrick Keeler) launched his new band The Raconteurs to huge acclaim and worldwide success.
Another highlight of 2006 for XL was to be chosen by Thom Yorke, one of the most singular and brilliant talents of his generation, as the home for his extraordinary album "The Eraser". On its release XL was able to celebrate their first self-released US number one artist album.
In 2006 Russell also co-produced the acclaimed orchestral album "Aluminium", re-working the songs of Jack White.
2007 has been a banner year for XL, with new albums from The White Stripes, Devendra Banhart, M.I.A, Dizzee Rascal and Jack Penate; and on December 31 2007 XL will release "In Rainbows" by Radiohead.
2008 has the makings of an extraordinary year, with "future classic" albums already delivered from Adele and Vampire Weekend.
XL's focus seemingly continues to intensify; to discover and nurture the most original and inventive artists possible, regardless of genre, and help them take their music to the widest possible audience- without compromise.
Rather than being a passive backer of artists and music, XL is seen as a creative entity in its own right.
And whilst XL seems to re-invent itself every few years around its roster, one thing that remains constant is that XL is 100% independent, continuing a great tradition of UK record label culture.
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