Blue Lines

Last updated

Blue Lines
MassiveAttackBlueLines.jpg
Studio album by
Massive Attack
Released8 April 1991 (1991-04-08)
Recorded1990–1991
Studio
  • Coach House (Bristol)
  • Eastcote (London)
  • Cherry Bear
  • Abbey Road (London)
  • Hot Nights (London)
Genre
Length45:08
Label
Producer
Massive Attack chronology
Blue Lines
(1991)		 Protection
(1994)
Singles from Blue Lines
  1. "Daydreaming"
    Released: 15 October 1990
  2. "Unfinished Sympathy"
    Released: 11 February 1991
  3. "Safe from Harm"
    Released: 27 May 1991
  4. "Hymn of the Big Wheel" / "Be Thankful for What You've Got"
    Released: 10 February 1992

Blue Lines is the debut studio album by English electronic music group Massive Attack, [a] released on 8 April 1991 by Wild Bunch and Virgin Records. [2] The recording was led by members Grantley "Daddy G" Marshall, Robert "3D" Del Naja, Adrian "Tricky" Thaws, and Andrew "Mushroom" Vowles, with co-production by Jonny Dollar. It also features contributions by singers Shara Nelson and Horace Andy. Generally regarded as the first "trip hop" album, Blue Lines blended elements of hip hop (such as breakbeats, sampling, and rapping) with dub, soul, reggae, and electronic music.

Contents

Blue Lines was named the 21st greatest album of all time in a 1997 "Music of the Millennium" poll conducted by HMV, Channel 4, The Guardian and Classic FM. In 2000, Q readers placed it at number 9 in the magazine's poll of the "100 Greatest British Albums Ever". In 2003, the album was included on Rolling Stone 's list of "The 500 Greatest Albums of All Time" and again in 2012 and 2020. [3] [4] Pitchfork ranked it at number 85 in its list of "The Top 100 Albums of the 1990s". [5]

A remastered version of the album was released on 19 November 2012. [6]

Background

"We worked on Blue Lines for about eight months, with breaks for Christmas and the World Cup," said Robert "3D" Del Naja, "but we started out with a selection of ideas that were up to seven years old. Songs like 'Safe from Harm' and 'Lately' had been around for a while, from when we were The Wild Bunch, or from our time on the sound systems in Bristol. But the more we worked on them, the more we began to conceive new ideas too – like, 'Five Man Army' came together as a jam." [7] The group also drew inspiration from concept albums in various genres by artists such as Pink Floyd, Public Image Ltd, Billy Cobham, Wally Badarou, Herbie Hancock and Isaac Hayes. [8]

Daddy G said about the making of the album:

We were lazy Bristol twats. It was Neneh Cherry who kicked our arses and got us in the studio. We recorded a lot at her house, in her baby's room. It stank for months and eventually we found a dirty nappy behind a radiator. I was still DJing, but what we were trying to do was create dance music for the head, rather than the feet. I think it's our freshest album, we were at our strongest then. [9]

The font used on the cover of the album is Helvetica Black Oblique. Del Naja has acknowledged the influence of the inflammable material logo used on the cover of Stiff Little Fingers' album Inflammable Material .

Composition

Blue Lines is generally considered the first trip hop album, [10] although the term was not widely used before 1994. A fusion of electronic music, hip hop, dub, 1970s soul and reggae, it established Massive Attack as one of the most innovative British bands of the 1990s and the founder of trip hop's Bristol sound. [11] AllMusic's John Bush also affirmed the album as the "first masterpiece" of what later became known as trip hop, and described it as "filter[ing] American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance." [12] The album featured breakbeats, sampling, and rapping on a number of tracks, but the design of the album differed from traditional hip hop. [13] Music critic Simon Reynolds stated that the album also marked a change in electronic and dance music, "a shift toward a more interior, meditational sound. The songs on Blue Lines run at 'spliff' tempos – from a mellow, moonwalking 90 beats per minute ... down to a positively torpid 67 bpm." [8]

Reception

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [12]
The A.V. Club A [14]
The Guardian Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [15]
Mojo Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [16]
NME 10/10 [17]
Pitchfork 9.0/10 [18]
Q Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [19]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [20]
Select 5/5 [21]
Uncut 9/10 [22]

In a contemporary review of Blue Lines for NME , Dele Fadele described the album as "the sleekest, deadliest, most urbane, most confounding LP 1991 has yet seen", writing that Massive Attack "put current changes on the dancefloor in perspective and map out blueprints for what must surely come next" and that "after Blue Lines the boundaries separating soul, funk, reggae, house, classical, hip-hop and space-rock will be blurred forever." [17] Select 's Andrew Harrison similarly complimented the album's diverse mix of styles and called it "a record to transcend every boundary", [21] while in Melody Maker , Jim Irvin praised it as an album that "one hopes might just bring down forever the wall of snobbery that still exists between dance and all other music." [2] Robert Christgau was more reserved in his praise, giving the album a three-star honourable mention and writing, "from soul ii skank, those postindustrial blues got them down". [23] At the Brit Awards' 1992 ceremony, Blue Lines was nominated for Best British Album. [24]

The album reached number 13 on the UK Albums Chart; sales were limited elsewhere. Blue Lines proved to be popular in the club scene, as well as on college radio stations. [11]

According to Greg Kot in the 2004 Rolling Stone Album Guide , Blue Lines became "the blueprint" for trip hop, which would later emerge as a commercially popular musical style. [20] "On its release, Blue Lines felt like nothing else", Alexis Petridis wrote for The Guardian upon the album's 2012 reissue, adding that it "still sounds unique, which is remarkable given how omnipresent trip-hop was to become". [15] Michael Gallucci of The A.V. Club noted that the album "created a template trip-hop artists relied on extensively" in the years following its release. [14] Pitchfork 's Miles Raymer, meanwhile, identified Blue Lines as "at its heart ... a hip-hop record", crediting it with being "at the forefront" of the genre's musical progression from "blocky rhythms and minimal arrangements" in the 1980s towards "deep, organic textures" in the 1990s. [18] Concluding his review for AllMusic, John Bush deemed Blue Lines "one of the best dance albums of all time." [12]

In 1997, Blue Lines was named the 21st greatest album of all time in a "Music of the Millennium" poll conducted by HMV, Channel 4, The Guardian and Classic FM. The following year, Q readers placed it at number 58 in its list of the "100 Greatest Albums Ever", and in 2000, the album was voted at number 9 in the magazine's poll of the "100 Greatest British Albums Ever". In 2003, the album was ranked number 395 on Rolling Stone 's list of "The 500 Greatest Albums of All Time", [25] 397 in a 2012 revised list, [3] and 241 in a 2020 revised list. [4] Pitchfork ranked it at number 85 in its 2003 list of "The Top 100 Albums of the 1990s". [5] The album was also included in the book 1001 Albums You Must Hear Before You Die . [26] The track "Unfinished Sympathy" has also been singled out for praise, being hailed by BBC Radio 2 as "one of the most moving pieces of dance music ever, able to soften hearts and excite minds just as keenly as a ballad by Bacharach or a melody by McCartney." [27]

"This album is chill music for me – music to write to", said author Chuck Palahniuk. "I'm writing short stories to this right now. I put this on repeat, something Andy Warhol used to do: He'd put singles on and play them unendingly to the point where the language would break down, and he would paint to that trancelike repetition." [28]

As of February 2010, the album had sold 266,000 copies in the United States, according to Nielsen SoundScan. [29]

Track listing

No.TitleWriter(s)Length
1."Safe from Harm"
5:18
2."One Love"
4:48
3."Blue Lines"
4:21
4."Be Thankful for What You've Got" William DeVaughn 4:09
5."Five Man Army"
  • Marshall
  • Vowles
  • Del Naja
  • Thaws
  • Claude Williams
6:04
6."Unfinished Sympathy"
5:08
7."Daydreaming"
4:14
8."Lately"
  • Marshall
  • Vowles
  • Del Naja
  • Nelson
  • Gus Redmond
  • Larry Brownlee
  • Jeffrey Simon
  • Fred E. Simon
4:26
9."Hymn of the Big Wheel"
6:36
Total length:45:08

Personnel

Credits adapted from the liner notes of Blue Lines. [30]

Studios

  • Coach House (Bristol) – recording (tracks 1, 2, 6, 8, 9); mixing (track 8)
  • Matrix (London) – mixing (tracks 1, 4–6, 9)
  • Konk Studios (London) – mixing (tracks 2, 7)
  • Eastcote Studios (London) – recording (tracks 3, 5)
  • Cherry Bear Studios – recording (tracks 4, 7)
  • Abbey Road Studios (London) – recording (track 6)
  • Roundhouse (London) – mixing (track 7)
  • Hot Nights (London) – recording (track 9)
  • LOUD Mastering (Taunton) – remixing, remastering (2012 Mix/Master)

Musicians

  • Shara Nelson – vocals (tracks 1, 6–8)
  • Horace Andy – vocals (tracks 2, 5, 9)
  • Massive Attack – vocals (tracks 3, 5, 7)
  • Paul Johnson – bass guitar (track 3)
  • Tony Bryan – vocals (track 4)
  • Wil Malone – string arrangement, conducting (track 6)
  • Gavyn Wright – leader (track 6)
  • Neneh Cherry – additional arrangement (track 9)
  • Mikey General – backing vocal (track 9)

Technical

  • Massive Attack – production, mixing
  • Jonny Dollar – production, mixing
  • Cameron McVey (Booga Bear) – executive production
  • Jeremy Allom – mix engineering (tracks 1, 3–7, 9)
  • Bryan Chuck New – mix engineering (tracks 2, 8)
  • Kevin Petri – engineering (tracks 3, 5)
  • Haydn – string engineering (track 6)
  • John Dent – remastering (2012 mix/master)
  • Bruno Ellingham – remixing (2012 mix/master)

Artwork

Charts

Certifications

Certifications for Blue Lines
RegionCertification Certified units/sales
France (SNEP) [48] 2× Gold200,000*
United Kingdom (BPI) [49] 2× Platinum856,108 [50]

* Sales figures based on certification alone.

Notes

  1. ↑ On certain releases, the group is credited as "Massive".

Related Research Articles

Trip hop is a musical genre that originated in the late 1980s in the United Kingdom, especially Bristol. It has been described as a psychedelic fusion of hip hop and electronica with slow tempos and an atmospheric sound, often incorporating elements of jazz, soul, funk, reggae, dub, R&B, and other genres, typically of electronic music, as well as sampling from movie soundtracks and other eclectic sources.

<span class="mw-page-title-main">Tricky (rapper)</span> British rapper and record producer (born 1968)

Adrian Nicholas Matthews Thaws, better known by his stage name Tricky, is a British record producer and rapper. Born and raised in Bristol, in southwest England, he began his career as an early member of the band Massive Attack, alongside Robert Del Naja, Grant Marshall & Andrew Vowles. Through his work with Massive Attack and other artists, Tricky became a major figure in the Bristol underground scene, which gave rise to multiple internationally recognized artists and the music genre of trip hop.

<span class="mw-page-title-main">Massive Attack</span> English trip hop group

Massive Attack are an English trip hop collective formed in 1988 in Bristol, England by Robert "3D" Del Naja, Grant "Daddy G" Marshall, Adrian "Tricky" Thaws and Andrew "Mushroom" Vowles. The group currently consists of Del Naja and Daddy G.

<i>3 Feet High and Rising</i> 1989 studio album by De La Soul

3 Feet High and Rising is the debut studio album by the American hip hop group De La Soul, released on February 6, 1989, by Tommy Boy Records. It was the first of three collaborations with the producer Prince Paul, and was the critical and commercial peak of both parties. The album title comes from the Johnny Cash song "Five Feet High and Rising". The album contains the singles "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

<i>Dummy</i> (album) 1994 studio album by Portishead

Dummy is the debut studio album by English electronic music band Portishead, released on 22 August 1994 by Go! Beat Records.

<i>100th Window</i> 2003 studio album by Massive Attack

100th Window is the fourth studio album by English electronic music group Massive Attack, released on 10 February 2003 by Virgin Records. The album was mainly produced by lead member Robert Del Naja, as the group's producer Andrew Vowles departed shortly after the release of their previous album Mezzanine (1998), and Grant Marshall opted out of the production of the album. 100th Window features vocals from regular guest Horace Andy, as well as newcomers Sinéad O'Connor and Damon Albarn. Stylistically, it is the first album by the group to make no use of existing samples, and contains none of the hip hop or jazz fusion styles that the group were initially known for.

<i>The Blueprint</i> 2001 studio album by Jay-Z

The Blueprint is the sixth studio album by American rapper Jay-Z, released on September 11, 2001, through Roc-A-Fella Records and Def Jam Recordings. Its release was set a week earlier than initially planned in order to combat bootlegging. Recording sessions for the album took place during 2001 at Manhattan Center Studios and Baseline Studios in New York City. Contrasting the radio-friendly sound of Jay-Z's previous work, The Blueprint features soul-based sampling and production handled primarily by Kanye West, Just Blaze, and Bink, as well as Timbaland, Trackmasters, and Eminem, who also contributes the album's sole guest feature.

<i>Computer World</i> 1981 studio album by Kraftwerk

Computer World is the eighth studio album by German electronic band Kraftwerk, released on 11 May 1981. It was accompanied by four singles, including a double A-side UK no. 1 featuring "Computer Love".

<i>Greatest Hits</i> (Tupac Shakur album) 1998 greatest hits album by 2Pac

Greatest Hits is a posthumous double-disc greatest hits album by American rapper 2Pac, released by Amaru Entertainment, Death Row Records, Interscope Records, and Jive Records on November 24, 1998.

<i>1999</i> (Prince album) 1982 studio album by Prince and the Revolution

1999 is the fifth studio album by the American singer-songwriter and musician Prince, released on October 27, 1982, by Warner Bros. Records. It became his first album to be recorded with his band the Revolution. 1999's critical and commercial success propelled Prince to a place in the public psyche and marked the beginning of two years of heightened fame via his following releases.

<i>Protection</i> (Massive Attack album) 1994 studio album by Massive Attack

Protection is the second studio album by English electronic music group Massive Attack, released on 26 September 1994 by Wild Bunch Records and Circa. DJ Mad Professor remixed the album in 1995 under the name No Protection.

<i>Mezzanine</i> (album) 1998 studio album by Massive Attack

Mezzanine is the third studio album by English electronic music group Massive Attack, released on 20 April 1998 by Circa and Virgin Records. For the album, the group began to explore a darker aesthetic, and focused on a more atmospheric style influenced by British post-punk, industrial music, hip hop and dub music. The album spawned four singles, “Risingson”, “Teardrop”, “Angel” and “Inertia Creeps”. It’s the group’s first album to not feature the input of rapper Tricky and the last to feature Andrew “Mushroom” Vowles. It also marked the first collaboration between Robert Del Naja and producer Neil Davidge.

<span class="mw-page-title-main">Unfinished Sympathy</span> 1991 single by Massive Attack

"Unfinished Sympathy" is a song by the English trip hop group Massive Attack. It was released on 11 February 1991 under the temporary group name Massive. The song was written by the three band members Robert "3D" Del Naja, Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall, the song's vocalist Shara Nelson and the group's co-producer Jonathan "Jonny Dollar" Sharp. It was released on 11 February 1991 as the second single from the band's first album, Blue Lines (1991), on the band's Wild Bunch label distributed by Circa Records. The name "Massive" was used to avoid a radio ban, as the track's release coincided with the Gulf War. Produced by Massive Attack and Dollar, the song incorporates various musical elements into its arrangement, including vocal and percussion samples, drum programming and string orchestration by the arranger Wil Malone.

<i>Maxinquaye</i> 1995 studio album by Tricky

Maxinquaye is the debut album by English rapper and producer Tricky, released on 20 February 1995 by 4th & B'way Records, a subsidiary of Island Records. In the years leading up to the album, Tricky had grown frustrated with his limited role in the musical group Massive Attack and wanted to pursue an independent project. Shortly after, he met with vocalist Martina Topley-Bird, who he felt would offer a wider vision to his music, and signed a solo contract with 4th & B'way in 1993. Tricky recorded Maxinquaye the following year primarily at his home studio in London, with Topley-Bird serving as the album's main vocalist, while Alison Goldfrapp, Ragga and Mark Stewart performed additional vocals.

<i>Collected</i> (Massive Attack album) 2006 greatest hits album by Massive Attack

Collected is a compilation album by British trip hop collective Massive Attack, released on 27 March 2006. The album was preceded by the release of the single "Live with Me" on 13 March. It collects most of the band's singles up until this point.

<i>Heligoland</i> (album) 2010 studio album by Massive Attack

Heligoland is the fifth studio album by English electronic music duo Massive Attack, released on 8 February 2010 by Virgin Records. Named after a German archipelago, it was their first studio album in seven years, following 100th Window (2003). It has been certified Gold by the British Phonographic Industry (BPI).

<i>Third</i> (Portishead album) 2008 studio album

Third is the third studio album by the English band Portishead. It was released on 28 April 2008 in the United Kingdom by Island Records and a day later in the United States by Mercury Records. Portishead's first studio album in eleven years, Third moved away from the trip hop style they had popularised, incorporating influences such as krautrock, surf rock, doo wop and the film soundtracks of John Carpenter.

<span class="mw-page-title-main">Massive Attack discography</span>

The discography of British trip hop band Massive Attack consists of five studio albums, three compilations, five remix albums, one soundtrack, five EPs, eighteen singles, and twenty-seven music videos. The group was founded in 1988 by musicians Robert "3D" Del Naja, Adrian "Tricky" Thaws, Grantley "Daddy G" Marshall, and Andrew "Mushroom" Vowles in Bristol, England. Prior to this, all four were members of British sound system the Wild Bunch.

<i>Nasir</i> (album) 2018 studio album by Nas

Nasir is the eleventh studio album by American rapper Nas, released on June 15, 2018 through Mass Appeal and Def Jam Recordings. It marked his first album in six years since Life Is Good (2012). The album features guest appearances from Kanye West, Puff Daddy, 070 Shake, Tony Williams, and The-Dream. West also served as the album's executive producer, with additional production from Mike Dean, Andrew Dawson, Dot da Genius, and Cashmere Cat, among others.

<i>Heaven or Hell</i> (album) 2020 studio album by Don Toliver

Heaven or Hell is the debut studio album by American singer and rapper Don Toliver. It was released on March 13, 2020, by Cactus Jack Records, Atlantic Records and We Run It Entertainment. The album features guest appearances by Travis Scott, Kaash Paige, Quavo and Offset from Migos, and Sheck Wes. It also contains production from high-profile record producers, mainly from WondaGurl and Mike Dean, as well as Sonny Digital, Frank Dukes, and Cubeatz, among others.

References

  1. ↑ "Top 15 Electropop Albums". Classic Pop . 25 August 2021.
  2. 1 2 Arundel, Jim (30 March 1991). "Rhapsody in Blue". Melody Maker . London. p. 34. ISSN   0025-9012.
  3. 1 2 "500 Greatest Albums of All Time". Rolling Stone . 31 May 2012. Retrieved 5 September 2019.
  4. 1 2 "The 500 Greatest Albums of All Time". Rolling Stone . 22 September 2020. Retrieved 24 August 2021.
  5. 1 2 "Top 100 Albums of the 1990s". Pitchfork . 17 November 2003. p. 2. Retrieved 2 December 2012.
  6. ↑ "Massive Attack announce specially remastered Blue Lines reissue". Fact . 11 September 2012. Retrieved 1 November 2012.
  7. ↑ "You know the score!". Select . No. 19. London. January 1992. p. 51. ISSN   0959-8367.
  8. 1 2 Reynolds, Simon (1998). Generation Ecstasy: Into the World of Techno and Rave Culture . Little, Brown and Company. p. 321. ISBN   0-316-74111-6.
  9. ↑ Thompson, Ben (20 June 2004). "Blue Lines, Massive Attack". The Observer . London. Retrieved 13 October 2009.
  10. ↑ Garcia, Guy (25 October 1998). "Trip-Hop Reinvents Itself to Take on the World". The New York Times . Retrieved 13 October 2009.
  11. 1 2 Schwartz, Mark (1999). "Planet Rock: Hip Hop Supa National". In Light, Alan (ed.). The Vibe History of Hip Hop . New York: Three Rivers Press. pp.  361–372. ISBN   0-609-80503-7.
  12. 1 2 3 Bush, John. "Blue Lines – Massive Attack". AllMusic . Retrieved 4 September 2015.
  13. ↑ Chemam, Melissa (February 2019). "Massive Attack: Out of the Comfort Zone – An Excerpt". The Honest Ulsterman . Retrieved 5 February 2020.
  14. 1 2 Gallucci, Michael (20 November 2012). "Massive Attack: Blue Lines". The A.V. Club . Retrieved 5 December 2012.
  15. 1 2 Petridis, Alexis (6 December 2012). "Massive Attack: Blue Lines (remastered) – review". The Guardian . London. Retrieved 6 December 2012.
  16. ↑ Segal, Victoria (December 2012). "Massive Attack: Blue Lines". Mojo . No. 229. London. p. 102. ISSN   1351-0193.
  17. 1 2 Fadele, Dele (6 April 1991). "Immense at Work". NME . London. p. 35. ISSN   0028-6362. Archived from the original on 11 October 2000. Retrieved 23 January 2016.
  18. 1 2 Raymer, Miles (30 November 2012). "Massive Attack: Blue Lines". Pitchfork . Retrieved 5 December 2012.
  19. ↑ Henderson, Dave (June 1991). "Massive: Blue Lines". Q . No. 57. London. ISSN   0955-4955.
  20. 1 2 Kot, Greg (2004). "Massive Attack". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp.  517–518. ISBN   0-7432-0169-8.
  21. 1 2 Harrison, Andrew (April 1991). "Power Gem". Select . No. 10. London. p. 80. ISSN   0959-8367.
  22. ↑ Martin, Piers (December 2012). "Massive Attack: Blue Lines". Uncut . No. 187. London. p. 92. ISSN   1368-0722.
  23. ↑ Christgau, Robert (2000). "Massive Attack: Blue Lines". Christgau's Consumer Guide: Albums of the '90s. St. Martin's Griffin. p. 196. ISBN   0-312-24560-2 . Retrieved 18 March 2022.
  24. ↑ "The BRITs 1992". Brit Awards. Archived from the original on 20 October 2012. Retrieved 8 January 2023.
  25. ↑ "500 Greatest Albums of All Time: Blue Lines – Massive Attack". Rolling Stone . 11 December 2003. Archived from the original on 20 December 2010. Retrieved 18 March 2022.
  26. ↑ McIver, Joel (2006). "Massive Attack: Blue Lines". In Dimery, Robert (ed.). 1001 Albums You Must Hear Before You Die. Universe Publishing. p. 673. ISBN   978-0-7893-1371-3.
  27. ↑ "Unfinished Sympathy". BBC Radio 2 . Retrieved 2 December 2012.
  28. ↑ Wadsworth, Andrew (November 2003). "'I Was Choking on Animal Hair!'". Blender . Vol. 2, no. 9. New York. pp. 126–127. ISSN   1534-0554. Archived from the original on 8 March 2010. Retrieved 20 December 2022.
  29. ↑ Sexton, Paul (19 February 2010). "Massive Attack Prove New Album Was Worth The Wait". Billboard . Archived from the original on 18 September 2018. Retrieved 7 December 2018.
  30. ↑ Massive Attack (1991). Blue Lines (liner notes). Wild Bunch Records. WBRCD 1.
  31. ↑ Ryan, Gavin (2011). Australia's Music Charts 1988–2010 (PDF ed.). Mt Martha, Victoria, Australia: Moonlight Publishing. p. 178.
  32. ↑ "Austriancharts.at – Massive Attack – Blue Lines" (in German). Hung Medien. Retrieved 12 January 2019.
  33. ↑ "Ultratop.be – Massive Attack – Blue Lines" (in Dutch). Hung Medien. Retrieved 12 January 2019.
  34. ↑ "Ultratop.be – Massive Attack – Blue Lines" (in French). Hung Medien. Retrieved 12 January 2019.
  35. ↑ "Dutchcharts.nl – Massive Attack – Blue Lines" (in Dutch). Hung Medien. Retrieved 12 January 2019.
  36. ↑ "European Top 100 Albums" (PDF). Music & Media . Vol. 8, no. 18. 4 May 1991. p. 24. OCLC   29800226 – via World Radio History.
  37. ↑ "Lescharts.com – Massive Attack – Blue Lines". Hung Medien. Retrieved 12 January 2019.
  38. ↑ "Offiziellecharts.de – Massive Attack – {{{album}}}" (in German). GfK Entertainment Charts. Retrieved 10 August 2024.
  39. ↑ "Charts.nz – Massive Attack – Blue Lines". Hung Medien. Retrieved 12 January 2019.
  40. ↑ "Norwegiancharts.com – Massive Attack – Blue Lines". Hung Medien. Retrieved 12 January 2019.
  41. ↑ "Official Scottish Albums Chart Top 100". Official Charts Company. Retrieved 10 August 2024.
  42. ↑ "Swedishcharts.com – Massive Attack – Blue Lines". Hung Medien. Retrieved 12 January 2019.
  43. ↑ "Swisscharts.com – Massive Attack – Blue Lines". Hung Medien. Retrieved 12 January 2019.
  44. ↑ "Official Albums Chart Top 100". Official Charts Company. Retrieved 12 January 2019.
  45. ↑ "Official Dance Albums Chart Top 40". Official Charts Company. Retrieved 10 August 2024.
  46. ↑ "Official R&B Albums Chart Top 40". Official Charts Company. Retrieved 6 March 2020.
  47. ↑ "End of Year Album Chart Top 100 – 1999". Official Charts Company. Retrieved 23 July 2021.
  48. ↑ "French album certifications – Massive Attack – Blue Lines" (in French). Syndicat National de l'Édition Phonographique. 27 June 2000. Retrieved 17 September 2018.
  49. ↑ "British album certifications – Massive Attack – Blue Lines". British Phonographic Industry. 19 October 2001.
  50. ↑ Garner, George (4 February 2021). "Round Hill Music acquires catalogue of two founding members of Massive Attack". Music Week . Retrieved 28 December 2022.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.