Shed Seven: "Change Giver" альбомы және британдық музыка толқыны

Change Giver is the debut album by British rock band Shed Seven, released via Polydor Records on 5 September 1994. It was produced by Jessica Corcoran and was issued during the formative year of the Britpop movement—a scene that dominated British alternative music in the mid 1990s. The album was a moderate chart success in the UK, peaking at number 16 in the UK Albums Chart upon release, while three of the four singles taken from the album charted in the UK Top 40. Shed Seven quickly gained a reputation for their live performances, having been banned from playing in a number of local music venues in their hometown of York, due to the "violent" nature of attendees at their gigs. They soon focused their attention on London, playing a handful of live shows in the city's smaller venues—including both the Rock Garden and Bull and Gate—to audiences featuring key members of the British music business, such as BBC Radio 1 DJ Steve Lamacq. Their performance at the festival generated some national exposure, gaining them one of what would become a number of complimentary live reviews in the NME,
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Following the positive response to the band's In the City showcase performance, Shed Seven found themselves amid a record label bidding war, and eventually opted to sign a six album major label deal with Polydor Records in October 1993. and were associated with the short lived New Wave of New Wave scene. Yet, by the time Change Giver was released five months later, they were seen in the British music press as being part of a vibrant, new movement in British music, spearheaded by acts like Suede, a band who had personally invited Shed Seven to open their gig at Blackpool's Tower Ballroom on 11 February 1994. Writing for The Guardian a month after the release of Change Giver, Caroline Sullivan summarised Shed Seven's role in the emergent scene, which was initially dubbed "lad rock" and would later come to be known as britpop; "With Oasis achieving a number one album and Shed Seven being praised everywhere, the good old unambiguous British guitar band could be making a comeback. Like Oasis, this York band are defiantly heterosexual, and brimming with what in a previous day would have been called arrogance, and is now known as 'attitude'."

Shed Seven undertook four UK tours throughout 1994 in support of the album and its singles, including a student organised gig at St. Cuthbert's Roman Catholic School in Rochdale on 16 May. On 9 June, they played at the Heineken Music Festival at Avenham Park, Preston, along with Inspiral Carpets and Baby Chaos. They featured on the bill of 1994's Reading music festival on 27 August, performing a set on the Melody Maker Stage headlined by Madder Rose. In November 1994, they embarked on a seven date tour of France, beginning in Lille at the Aeronef on 2 November and ending at the Festival Be Bop'n Roll in Le Mans on 10 November. The tour was part of a small series of shows organised by Les Inrockuptibles magazine, and featured a number of other British acts, including Echobelly and Gene. and the following Summer they appeared at some of the UK's largest music festivals, including Glastonbury, where they played on the NME Stage on 23 June, T in the Park on 6 August, and again at Reading, where they performed on the Main Stage on 26 August.

Following the release of the album's second single "Dolphin"—which sold 15,000 copies in its first week On 27 September, they returned to BBC Radio where they had first featured as an unsigned band a year earlier, this time performing a full band four song set as part of The Mark Radcliffe Show. On 23 June 1995, highlights of the band's performance at Glastonbury Festival, along with Sinéad O'Connor and Dodgy, were shown as part of Channel 4's coverage of the event.

Following the release of Change Giver, Shed Seven spent much of 1995 out of the media spotlight. Between November 1994 and January 1996, they released just one single – "Where Have You Been Tonight?" in April 1995. By 1996, the band, and the album, were retrospectively seen to have lost out to Oasis in the race for britpop supremacy. In a 1996 issue of Guitarist magazine, Paul Banks also conceded that although the two bands' careers had run parallel during the months running up to and following the release of their respective debut albums, when the Oasis "phenomenon" took off, ultimately, Shed Seven were unable to compete.