Skip to main content

Blur — Blur


Year Released: 1997

Label: Food

Year Bought: 2012

AND WHEN SHE LETS ME SLIP AWAY....

The opening track of Blur's fifth album is undoubtedly one of their best. I remember when "Beetlebum" came out that it felt like a gear shift from the band. Later in the same year, Radiohead did the same with 'Paranoid Android'. Oasis's big comeback single in 1997, "D'You Know What I Mean" didn't have the same vibes.

Anyway, the self-titled album from Blur sees the band pretty much withdrawing from the Britpop battle. The chopping guitar of "Beetlebum" in many ways tells you everything you need to know about the record. Lo-fi, rough, a bit aggressive, the album sees Graham Coxon's love of US alt-rock, particularly Beck, dominating the sound.

Take "You're So Great", a Coxon penned and performed tune that sounds like it was recorded on an old tape player. This is no "Country House".

"Country Sad Ballad Man" sounds like a Beck tune, and the drum sounds and vocal delivery of "On Your Own" make it basically a prototype Gorillaz tune.

There are some strong echoes of the Britpop days though. "M.O.R" is basically "Boys Keep Swinging" by David Bowie (he and Brian Eno even get a writing credit), while "Look Inside America" is absolutely drenched in Beatles backing vocals, even if the lyrics are very un-Britpop: "Look inside America. She's alright, she's alright."

"Death of a Party" is a tune that Pulp would have liked on their hangover album "This is Hardcore", and also gives early Gorillaz vibes.

As with most Blur albums, it's a couple of tracks too long. I can live without "Essex Dogs" - the 8 minute long ending track which is a spoken word poem over soundscapes. 

Putting this alongside the so-called 'Life' trilogy that came before it just shows what a turn Blur made. In fact, if you were in any doubt, it underlines the fact that Albarn is probably the closest we'll have to another David Bowie. Britpop Blur was a persona that worked until it didn't, and Albarn and the rest were determined not to be the ones left clearing up the party.

Oh yeah, "Song 2" is on it. Woo hoo.

8/10


Comments

Popular posts from this blog

Eye To The Telescope – KT Tunstall

Year Released: 2004 Label: Relentless Year Bought: No Idea I'm not sure why I have this record. I have no record of buying it. I've never listened to it. But then I do own two Dido albums so it's not exactly out of character of me to have it. I've always thought KT Tunstall was a pretty cool person. She's clearly talented. But this album, I just can't really connect with it. There's some good tunes on here. 'Black Horse and the Cherry Tree' is great, as is 'Suddenly I See'. 'Another Place To Fall' hints at some darker tones, and 'Under The Weather' builds nicely. But overall it's just all a bit safe. I vaguely remember reading an interview with Tunstall a few years after this came out in which she said the original mix was a lot more rough and bluesy, but the label wanted it more polished. You can definitely hear how this album could have been scuffed up. 'Stopping The Love' is a good example of that. It's a mi...

Coming Up – Suede

  Year Released: 1996 Label: Nude Year Bought: 2011 I know lots of people love this album, and it has got some great songs on it, but I just can't love it. It's too trebly, too thin, too cold. It kicks off with 'Trash', which is an absolutely brilliant tune with fantastic lyrics. Brett is at his absolute best here, with talk of "nowhere towns" and "cellophane sounds", and being the "litter on the breeze". I love it. But, alas we go from one of Suede's best songs to one of their worst. 'Filmstar' feels incredibly lazy. The riff is nothing, and as for the lyrics:  Filmstar propping up the bar driving in a car it looks so easy Filmstar propping up the bar driving in a car tonight These are Noel Gallagher-on-an-incredibly-bad-day lyrics.  I hate the riff, I hate the chorus, I hate the lyrics. I hate how shiny it is. It's lazy ... which is the title of the next song. This tune sees the first use on the album of the "here the...

Intimacy – Bloc Party

Year Released: 2008 Label: Wichita Year Bought: 2008 Bloc Party's first two albums were absolute mainstays of my uni years, but their third, 2008's 'Intimacy', didn't touch the sides. All I remember of this album is that they were trying to be nu-rave and the beginning bit of 'Mercury'.  Listening to this album for the first time in 16 years, I can see why I didn't get on with it at the time. It's a dense, loud album, with hardly any room in the songs for air. The drums  – and drum machines – are all very in-your-face so it is a struggle to really sit and actually listen to.  The use of electronic drums is one of the main departures from Bloc Party's previous efforts, which for me is a real shame. One of the strengths of the group was that Matt Tong was a one-man drum machine, and using actual drum machines just feels like a step backwards. Opening song 'Ares' kicks things off with a searing guitar and huge drums that sound like something...