When it was released in 2002, The Streets' debut album Original Pirate Material was gushed over, commended for revitalising UK hip hop.
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It bowled people over for the way it found the poetic in the everyday lives of British youth.
When the first verse of ‘Has It Come To This?' kicks in, with ‘Make yourself at home, We got diesel or some of that homegrown, Sit back in your throne and turn off your phone, Cause this is our zone', you instinctively knew you were in the hands of someone who could depict tangible settings and make the words and rhymes bounce and vibrate in your head long after the song's end.
Original Pirate Material. Released in 2002. Riferendosi a Original Pirate Material, 2xLP, Album, 679003TLP, 0927 43568 1 It was and remains a great album. A perfect film score for many people's lives in their younger days.
When people are telling you you're shit, you have to, deep down, know that you are the greatest that the world's ever seen.
Mike Skinner - triple j, 2002
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And Mike Skinner was pretty sure he was worthy of our attention.
“I just always knew it was gonna work in the end, I suppose. I was probably stupid thinking that,” he told triple j's Richard Kingsmill in 2002. “It's probably a good chance that it wouldn't have worked out.”
Probing further into how the media attention and hype had affected him, Skinner revealed a quiet but resolute confidence in himself. When Kingsmill asked if he believed he was a major talent, Skinner was frank.
“Yeah, I did,” he said. “I'm quite self-righteous. I do have a lot of belief, I think you do have to, to keep going.
“You know, when people are telling you, ‘you're shit', you have to, deep down, know that you are the greatest that the world's ever seen, you know, to go through that and keep going after that.”
There had been setbacks and putdowns aplenty on the road to getting his music and stories out into the world.
Skinner started out making loop tapes from tracks by his heroes like Run DMC and Beastie Boys, which he rapped over. Later, after joining a collective, he found his style didn't fit with his fellow MCs.
The first seeds were planted in his mind about what The Streets could be after he sent some tapes to American underground labels. They told him, “'Why do you want to sound like us? There's millions of us over here. Be yourself,'” Skinner told The Independent in 2002.
A year long stint in Australia in 1999/2000 helped him hone his ideas and find perspective.
“I worked out life in Australia,” he told The Independent. 'I used to think black Americans were all really hard and lived really exciting lives and had all been shot at. When I got to Australia, I realised no one really lives that life.
“There's dodgy areas, of varying degrees, but what you do is make it exciting and interesting for people to listen to. It's a trick really: people think I'm really exciting, but I'm not.”
Skinner told Kingsmill he'd travelled to Cairns and worked at a factory in Western Sydney where triple j was blasting on the radio all day. It was a time when he wasn't writing so much, but he says the album's closing track ‘Stay Positive' was written and partly inspired by his observations during time spent around Darlinghurst and Kings Cross.
It's a sombre and reflective note on which to end the record and shows that Original Pirate Material wasn't just preoccupied with chasing cheap highs, copious drink and fit girls.
Mike Skinner was willing to look deeper into matters of substance abuse and depression (‘Stay Positive'), at the importance of culture, art and genuine expression (‘Let's Push Things Forward'), regrets and missed opportunities (‘Its Too Late') and the short sightedness of social perceptions of pot users verses rampant alcoholism (‘The Irony of It All').
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This was, quite evidently, a day in the life of no ordinary geezer.
Mike Skinner's shining moment arrives toward the end of Original Pirate Material where he vividly depicts a scene of communal gathering, connection, and euphoria. ‘Weak Become Heroes', with its steady house inspired piano loop and breezy lyrics like ‘See here people are all equal, Smiles are front and behind me, Swim in the deep blue sea, Cornfields sway lazily, All smiles, All easy', show just how effortlessly he puts us in that place and that time.
But that's because he's kind of worked out a formula of sorts that serves him and his narratives well.
“Hip hop,” he explained to The Guardian in 2004, 'draws on different principles to other music. It's not purely sonic pleasure: it's conflict and action and story. It's the old way of making records – which is rhythm and noise – combined with a little bit of The A-Team. And that's exactly what I love about it.”
25 March 2020, 18:17 | Updated: 27 March 2020, 14:32
The famous sleeve photo has an image that's related to another classic album of the 2000s...
It's hard to recall how big a deal The Streets were when the debut album Original Pirate Material arrived on the scene in March 2002.
Mike Skinner had a unique voice and a unique way of expressing himself, as demonstrated on tracks like Has It Come To This?, Weak Become Heroes and Let's Push Things Forward.
The NME said that Skinner's songs were 'snapshots of ordinary life as a young Midlands resident, set to innovative two-step production: tales of love, going out, being skint, getting drunk, and eating chips'.
Recorded in his bedroom in Brixton, South London over the period of a year, Skinner's music required a suitably every day, everyman type of image to illustrate its themes. The cover art features a photograph of a British tower block at night - some flats are empty, others have glimmers of light in their windows, indicating there's people going about their lives. The public and the private.
The block of flats pictured is Kestrel House, on City Road/Moreland Street, East London. The building was opened in 1968 and lies on the main road between Angel and Old Street.
The image was taken in 1995 by Rut Blees Luxemburg, a German photographer who studied in London.
The photo used on the sleeve of Original Pirate Material was originally called Towering Inferno and forms part of the series A Modern Project.
Luxemburg was part of an art space called Plummet, which was located on the 16th floor of another block, which now forms part of the King Square estate. She told Photoworks: 'It was in this experimental environment that my interest in the representation of cities really came into focus and my photograph for the cover of The Streets' debut album was made there.'
The photo series was designed to find the art in London's cityscapes. Luxemburg told The Fader in 2017: 'I was very interested in how the architectural movement of modernism was represented in Britain. I found modernism in these social housing estates, yet they were stigmatised. In my work I try to find the beauty in the illumination, the structure, the clarity of the architecture.'
Luxemburg shot the photo on good old fashioned film, adding: 'That’s why also you have this incredible detail. You can almost see into the people’s apartments. Everything is sharp, so you can really immerse yourself in the city.'
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This feeling connected witn Mike Skinner's bedroom garage tracks: 'You really have the sense of this guy living in a similar estate, in his bedroom, doing the music. There’s something quite intimate about his music because it suggests an interior place. Although it talks about the city, it comes from a private experience.'
Original Pirate Material made Number 23 in the Uk charts on its initial release, but re-entered and peaked at Number 10 after the success of Skinner's single Dry Your Eyes in 2004.
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The Streets weren't the only artist to use one of Luxemburg's images as album artwork in the early 2000s.
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The image titled A Modern Project was used on the cover of Bloc Party's second album, A Weekend in the City in 2007. The photo shows London's Westway flyover, shot at night.