Blur's self-titled fifth album (1997) saw another stylistic shift, influenced by the lo-fi styles of American indie rock groups, and became their third UK chart-topping album. Its single "Song 2" brought the band mainstream success in the US for the first time. Their next album, 13 (1999) saw the band experimenting with electronic and art rock styles, and featured more personal lyrics from Albarn and Coxon. Their seventh album, Think Tank (2003), continued their experimentation with electronic sounds and was shaped by Albarn's growing interest in hip hop and world music, featuring more minimal guitar work. Coxon left the band early in the sessions for Think Tank, and Blur disbanded for several years after the album's tour.
In 2009, Blur reunited with Coxon and embarked on a European reunion tour. In the following years, they released several singles and compilations and toured internationally. In 2012, they received a Brit Award for Outstanding Contribution to Music. Their eighth album, The Magic Whip (2015), was their first in twelve years and the sixth consecutive Blur studio album to top the British charts. After the Magic Whip tour, Blur went on hiatus until the release of their ninth album, The Ballad of Darren, in 2023.
History
Formation and Leisure, 1988–1991
After their original name, Seymour, was rejected by Food Records, the band chose Blur from a list of alternatives the label drew up.
Blur were formed in December 1988 when bassist Alex James joined Damon Albarn's band, Circus, and they changed the name to Seymour after J. D. Salinger's Seymour: An Introduction.[5][6] Already in the band were drummer Dave Rowntree, who had joined in October,[5] and guitarist Graham Coxon, Albarn's childhood friend from Essex, who was studying at London's Goldsmiths College along with Albarn and James.[5][7] The group performed live for the first time in summer 1989 in the goods shed of the East Anglian Railway Museum at Chappel & Wakes Colne.[8][9] In November, Food Records' A&R representative Andy Ross attended a Seymour performance that convinced him to court the group for his label. The only concern held by Ross and Food was that they disliked the band's name. Food drew up a list of alternatives, from which the group decided on Blur. Food Records finally signed the rechristened band in March 1990.[10]
From March to July 1990, Blur toured Britain, opening for the Cramps, and testing out new songs. In October 1990, after their tour was over, Blur released the single "She's So High", which reached number 48 in the UK Singles Chart.[11] The band had trouble creating a follow-up single, but they made progress when paired with producer Stephen Street. The resulting single release, "There's No Other Way", became a hit, peaking at number eight.[12] As a result of the single's success, Blur became pop stars and were accepted into a clique of bands who frequented the Syndrome club in London dubbed "The Scene That Celebrates Itself".[13]NME magazine wrote in 1991, "[Blur] are [the] acceptable pretty face of a whole clump of bands that have emerged since the whole Manchester thing started to run out of steam."[14]
The band's third single, "Bang", performed relatively disappointingly, reaching only number 24.[15] Andy Ross and Food owner David Balfe were convinced Blur's best course of action was to continue drawing influence from the Madchester genre. Blur attempted to expand their musical sound, but the recording of the group's debut album was hindered by Albarn having to write his lyrics in the studio. Although the resulting album Leisure (1991) peaked at number seven on the UK Albums Chart, it received mixed reviews,[11] and according to journalist John Harris, "could not shake off the odour of anti-climax".[16]
After discovering they were £60,000 in debt, Blur toured the United States in 1992 in an attempt to recoup their financial losses.[17] The group released the single "Popscene" to coincide with the start of the tour. Featuring "a rush of punk guitars, '60s pop hooks, blaring British horns, controlled fury, and postmodern humor",[18] "Popscene" was a turning point for the band musically.[19] However, upon its release it only charted at number 32. "We felt 'Popscene' was a big departure; a very, very English record", Albarn told the NME in 1993, "But that annoyed a lot of people ... We put ourselves out on a limb to pursue this English ideal and no-one was interested."[20] As a result of the single's lacklustre performance, plans to release a single named "Never Clever" were scrapped and work on Blur's second album was pushed back.[21]
During the two-month American tour, the band became increasingly unhappy, often venting frustrations on each other, leading to several physical confrontations.[22] The band members were homesick; Albarn said, "I just started to miss really simple things ... I missed everything about England so I started writing songs which created an English atmosphere."[20] Upon the group's return to Britain, Blur (Albarn in particular) were upset by the success rival group Suede had achieved while they were gone.[23] After a poor performance at a 1992 gig that featured a well-received set by Suede on the same bill, Blur were in danger of being dropped by Food.[24] By that time, Blur had undergone an ideological and image shift intended to celebrate their English heritage in contrast to the popularity of American grunge bands like Nirvana.[25] Although sceptical of Albarn's new manifesto for Blur, Balfe gave assent for the band's choice of Andy Partridge (of XTC) to produce their follow-up to Leisure. The sessions with Partridge proved unsatisfactory, but a chance reunion with Stephen Street resulted in him returning to produce the group.[26]
Blur completed their second album Modern Life Is Rubbish in December 1992, but Food Records said the album required more potential hit singles and asked them to return to the studio for a second time. The band complied and Albarn wrote "For Tomorrow", which became the album's lead single.[27] "For Tomorrow" was a minor success, reaching number 28 on the charts.[28]Modern Life Is Rubbish was released in May 1993. The announcement of the album's release included a press photo which featured Blur, dressed in a mix of mod and skinhead attire, posing alongside a mastiff with the words "British Image 1" spraypainted behind them. At the time, such imagery was viewed as nationalistic and racially insensitive by the British music press; to quieten concerns, Blur released the "British Image 2" photo, which was "a camp restaging of a pre-war aristocratic tea party".[29]Modern Life Is Rubbish peaked at number 15 on the British charts,[30] but failed to break into the US Billboard 200, selling only 19,000 copies there.[31]
The success of Parklife (1994) revived Blur's commercial fortunes. The album's first single, the disco-influenced "Girls & Boys", found favour on BBC Radio 1 and peaked at number 5 on the UK Singles Chart,[32] and number 59 in the US Billboard Hot 100 where it remains the band's highest-charting single.[33]Parklife entered the British charts at number one and stayed on the album charts for 90 weeks.[34] Enthusiastically greeted by the music press—the NME called it "a Great Pop Record ... bigger, bolder, narkier and funnier [than Modern Life is Rubbish]"—Parklife is regarded as one of Britpop's defining records.[35][36] Blur won four awards at the 1995 Brit Awards, including Best Band and Best Album for Parklife.[37] Coxon later pointed to Parklife as the moment when "[Blur] went from being regarded as an alternative, left field arty band to this amazing new pop sensation".[38]
Blur began working on their fourth album The Great Escape at the start of 1995.[39] Building upon the band's previous two albums, Albarn's lyrics for the album consisted of several third-person narratives. James reflected, "It was all more elaborate, more orchestral, more theatrical, and the lyrics were even more twisted ... It was all dysfunctional, misfit characters fucking up."[40] The release of the album's lead single "Country House" played a part in Blur's public rivalry with Manchester band Oasis termed the "Battle of Britpop".[41] Partly due to increasing antagonisms between the groups, Blur and Oasis released their new singles on the same day, an event the NME called "The British Heavyweight Championship". The debate over which band would top the British singles chart became a media phenomenon, and Albarn appeared on the News at Ten.[42] At the end of the week, "Country House" ultimately outsold Oasis' "Roll With It" by 274,000 copies to 216,000, becoming Blur's first number one single.[43]
The Great Escape, which Albarn told the public was the last instalment in the band's Life Trilogy, was released in September 1995 to ecstatic reviews.[44] The NME hailed it as "spectacularly accomplished, sumptuous, heart-stopping and inspirational",[45] while Mojo argued "Blur are the very best that '95 Britpop has to offer and this is a most gong-worthy sound, complete with head-slicing guitars, catchy tunes and very funny words".[46] Entering the UK charts at number one,[47] the album sold nearly half a million copies in its first month of sale.[48] However, opinion quickly changed and Blur found themselves largely out of favour with the media once again. Following the worldwide success of Oasis' (What's the Story) Morning Glory? (which went quadruple platinum in the United States), the media quipped "[Blur] wound up winning the battle but losing the war."[49] Blur became perceived as an "inauthentic middle class pop band" in comparison to the "working class heroes" Oasis, which Albarn said made him feel "stupid and confused".[42] Alex James later summarised, "After being the People's Hero, Damon was the People's Prick for a short period ... basically, he was a loser – very publicly."[50]
Reinvention after Britpop, 1996–2000
An early 1996 Q magazine interview revealed that relations between Blur members had become very strained; journalist Adrian Deevoy wrote that he found them "on the verge of a nervous breakup".[50] Coxon, in particular, began to resent his bandmates: James for his playboy lifestyle, and Albarn for his control over Blur's musical direction and public image.[50] The guitarist struggled with drinking problems and, in a rejection of the group's Britpop aesthetic, made a point of listening to noisy American alternative rock bands such as Pavement.[51] In February 1996, when Coxon and James were absent for a lip-synced Blur performance broadcast on Italian television, they were replaced by a cardboard cutout and a roadie, respectively. Blur biographer Stuart Maconie later wrote that, at the time, "Blur were sewn together very awkwardly".[50]
Although he had previously dismissed it, Albarn grew to appreciate Coxon's tastes in lo-fi and underground music, and recognised the need to significantly change Blur's musical direction once again. "I can sit at my piano and write brilliant observational pop songs all day long but you've got to move on", he said.[50] He subsequently approached Street, and argued for a more stripped-down sound on the band's next record. Coxon, recognising his own personal need to—as Rowntree put it—"work this band", wrote a letter to Albarn, describing his desire for their music "to scare people again". After initial sessions in London, the band left to record the rest of the album in Iceland, away from the Britpop scene.[50]
The result was Blur, the band's fifth studio album, released in February 1997. Although the music press predicted that the lo-fi sonic experimentation would alienate Blur's teenage girl fan-base, they generally applauded the effort. Pointing out lyrics such as "Look inside America/She's alright", and noting Albarn's "obligatory nod to Beck, [and promotion of] the new Pavement album as if paid to do so", reviewers felt the band had come to accept American values during this time—an about-face of their attitude during the Britpop years.[52] Despite cries of "commercial suicide", the album and its first single, "Beetlebum", debuted at number one in the UK.[53] Although the album could not match the sales of its predecessors in Britain, internationally Blur was more successful.[53] In the US, the album received strong reviews, reached number 61 on the Billboard 200 and was certified gold.[54][55] The album's second single and second track, aptly named "Song 2", was also popular on alternative radio, reaching number six on the BillboardModern Rock chart and remaining on that chart for 26 weeks.[56] After it was licensed for use in various media—such as soundtracks, advertisements and television shows—"Song 2" became the most recognisable Blur song in the US. After the success of Blur, the band embarked on a nine-month world tour.[50]
In February 1998, a few months after completing the tour, Blur released Bustin' + Dronin' for the Japanese market. The album is a collection of Blur songs remixed by artists such as Thurston Moore, William Orbit and Moby. Among the tracks, the band were most impressed by Orbit's effort and enlisted him to replace Street as producer for their next album,[57] citing a need to approach the recording process from a fresh perspective.[38]
Released in March 1999, Blur's sixth studio album 13 saw them drift still further away from their Britpop-era attitude and sound. Orbit's production style allowed for more jamming, and incorporated a "variety of emotions, atmospheres, words and sounds" into the mix. 13 was creatively dominated by Coxon, who "was simply allowed to do whatever he chose, unedited", by Orbit.[58] Albarn's lyrics—more heart-felt, personal and intimate than on previous occasions—were reflective of his break-up with Elastica frontwoman Justine Frischmann, his partner of eight years.[58] The album received generally favourable reviews from the press. While Q called it "a dense, fascinating, idiosyncratic and accomplished art rock album",[59] the NME felt it was inconsistent and "(at least) a quarter-of-an-hour too long".[60]13 debuted at the top of the UK charts, staying at that position for two weeks. The album's lead single, the gospel-based "Tender", opened at the second spot on the charts. After "Coffee & TV", the first Blur single to feature Coxon on lead vocals, only reached number 11 in the UK, manager Chris Morrison demanded a chart re-run because of what he deemed was a sales miscalculation.[61]
In July 1999, in celebration of their tenth anniversary, Blur released a 22-CD limited edition box-set of their singles. The accompanying tour saw Blur play the A-sides of the 22 singles in their chronological order of release.[62] In October 2000, the group released the compilation Blur: The Best Of,[63][64][65] which debuted at number three in the UK[66] and went 4× Platinum due to 1,200,000 copies being shipped.[67] Dismissed by the band as "the first record we have seen as product", the track listing and release dates of Blur: The Best Of were determined on the basis of market research and focus groups conducted by Blur's record label, EMI.[68] By this time, the group had largely disowned the upbeat pop singles from the Britpop era, and favoured the more arty, experimental work on Blur and 13. In an otherwise highly enthusiastic review of the best-of for the NME, Steve Sutherland criticised the band's "sheer disregard" for their earlier work; "Just because these songs embarrassed them once they started listening to broadsheet critics and retreated wounded from the big-sales battle with Oasis doesn't mean that we're morons to love them."[69]
Coxon's departure, Think Tank and hiatus, 2001–2007
After 13 and the subsequent tours in 1999–2000, band members pursued other projects. Graham Coxon recorded a string of solo albums, while Damon Albarn dedicated his time to Gorillaz, the animated band he had created with Jamie Hewlett. Alex James worked with Fat Les and co-wrote several songs with Sophie Ellis-Bextor and Marianne Faithfull.[70][71]
Recording for Blur's next album began in London in November 2001, but concerted work started in June 2002, with the sessions moving to Marrakech, Morocco soon after, and then to Devon back in the UK. Not long after the sessions began, Coxon left the group.[72] Graham had developed a drinking problem once Blur had become more mainstream[73] being more involved in the business side of music then he would have liked to have, which ended up giving him huge anxiety and depression problems.[74] This caused friendships and relationship problems.[75] Coxon said "there were no rows" and "[the band] just recognized the feeling that we needed some time apart".[76] Before the album was released, Blur released a new single, "Don't Bomb When You Are the Bomb" as a very limited white label release. The song is largely electronic, and was part of the band's protest against war in the Middle East. Albarn, however, attempted to assuage fans' fears that the album would be electronic by providing reassurances that the band's new album would be "a rockin' record", and also said that it has "a lot of finely crafted pop songs".[77] Early in 2002, Blur recorded a song that would be played by European Space Agency's Beagle 2 lander once it touched down;[78] however, attempts to locate the probe after it landed on Mars were fruitless.[79]
Think Tank, released in May 2003,[80] was filled with atmospheric, brooding electronic sounds, featuring simpler guitar lines played by Albarn, and largely relying on other instruments to replace Coxon. The guitarist's absence also meant that Think Tank was almost entirely written by Albarn. Its sound was seen as a testament to Albarn's increasing interest in African and Middle Eastern music, and to his complete control over the group's creative direction.[81]Think Tank was yet another UK number one and reached number 56 in the United States.[30][82] It was also nominated for best album at the 2004 Brit Awards.[83] The band did a successful tour in 2003, with former Verve guitarist Simon Tong filling in for Coxon.[84]
In 2005, XFM News reported that Blur would record an EP, and denied that they would hire a replacement guitarist for Coxon.[85] There were also some aborted recordings made in 2005. Overall the band kept a low profile and did no studio or touring work as a three-piece. After Coxon significantly thawed on the subject of rejoining Blur,[86] in 2007 band members announced that they would reunite, and that they intended to record together first in August, with the date later being pushed back to September, then October.[87][88] Though the band members finally met up in October, they posted on their website that they had only "met up for an enjoyable lunch" and that there were no "other music plans for Blur".[89]
Reunion performances, 2008–2015
Coxon (left) and Albarn (right) on stage at the Newcastle Academy in June 2009
In December 2008, Blur announced they would reunite for a concert at London's Hyde Park on 3 July 2009.[89] Days later, the band added a second date, for 2 July.[90] A series of June preview shows were also announced, ending at Manchester Evening News arena on the 26th. All the shows were well received; The Guardian's music critic Alexis Petridis gave their performance at Goldsmiths college a full five stars, and wrote "Blur's music seems to have potentiated by the passing of years ... they sound both more frenetic and punky and more nuanced and exploratory than they did at the height of their fame".[91] Blur headlined the Glastonbury Festival on 28 June, where they played for the first time since their headline slot in 1998. Reviews of the Glastonbury performance were enthusiastic; The Guardian called them "the best Glastonbury headliners in an age".[92] The band released their second greatest hits album Midlife: A Beginner's Guide to Blur on 15 June 2009.[93][94]
Blur also headlined at other summer festivals, including Oxegen 2009 in Ireland,[95][96] and the Scottish outdoor show of T in the Park.[97][98] Their T in the Park headline slot was put in jeopardy after Graham Coxon was admitted to hospital with food poisoning.[97] Ultimately, the band did play, albeit an hour and a half after they were scheduled to appear.[97] After the completion of the reunion dates, James said the group had not discussed further plans, and Albarn told Q soon after that Blur had no intention of recording or touring again. He said, "I just can't do it anymore", and explained that the main motivation for participating in the reunion was to repair his relationship with Coxon, which he succeeded at.[99] Coxon also said that no further Blur activity was planned, telling NME.com in September, "We're in touch and we say 'Wotcha' and all that but nothing has been mentioned about any more shows or anything else".[100]
In February 2012, Blur were awarded the Outstanding Contribution to Music award at the 2012 Brit Awards.[107] Later that month, Albarn and Coxon premiered a new track together live, "Under the Westway".[108] In April, the band announced that a box-set entitled Blur 21—containing all seven Blur studio albums, four discs of unreleased rarities and three DVDs—would be released in July.[109] Blur had also entered the studio early that year to record material for a new album, but in May producer William Orbit told the NME that Albarn had halted recording.[110] Blur's official Twitter and Facebook pages announced that the band would release two singles "The Puritan" and "Under the Westway" on 2 July.[111] That August, Blur headlined a show at Hyde Park for the 2012 Summer Olympics closing ceremony.[112] In 2013, the band performed at the Rock Werchter in Belgium, the Spanish and Portuguese dates of the Primavera Sound festival,[113] and the Coachella Valley Music and Arts Festival in the United States.[114]
The Magic Whip and second hiatus, 2015–2022
In April 2015, Blur released their first studio album in twelve years, The Magic Whip.[115][116] Conceived over five days in Hong Kong after a cancelled Japan tour in 2013, the album was inspired by the city as well. "There's nothing pastoral about it", Albarn said, "it's very urban".[116]The Magic Whip also marks the return of Coxon,[115][116] absent on all but one track on Think Tank, and Stephen Street, Blur's producer during the Britpop era.[115]
The Magic Whip received positive reviews.[117] Awarding the album a full five stars, The Daily Telegraph called The Magic Whip "a triumphant comeback that retains the band's core identity while allowing ideas they'd fermented separately over the past decade to infuse their sound with mature and peculiar new flavour combinations".[118] The NME concurred, saying Blur were "a reunited band making music to rival their very best".[119] It was also a commercial success, becoming the sixth consecutive Blur LP since Parklife (1994) to top the British charts.[120] The Guardian also noted that at times during its first week of release, The Magic Whip sold "more than the rest of the top five combined".[120]The Magic Whip also became Blur's highest charting album in the United States when it peaked at number 24 on the Billboard 200.[54] That December New World Towers, a documentary on the recording process of The Magic Whip, was released in select British theatres.[121][122]
Blur went on hiatus following the 2015 Magic Whip tour.[123] They briefly reunited in March 2019 for a surprise performance at an Albarn-organized Africa Express event in London.[124]
The Ballad of Darren, and second reunion, 2022–present
Blur, "The Ballad Of Darren" Album Playback Show at Eventim Apollo, Hammersmith, Tuesday 25 July 2023
On 14 November 2022, Blur announced that they would perform at Wembley Stadium on 8 July 2023 – their first headline performance since 2015.[125][126] On 10 February 2023, in line with the reunion, the band collaborated with clothing brand PLEASURES to release a line of items commemorating their 1997 album Blur.[127]
On 5 December, Albarn announced that Blur would enter another hiatus, saying, "[It's] time to wrap up this campaign. It’s too much for me."[139][140] However, the band accepted a late night phone call offer to play 2024's Coachella, with management giving them five minutes to decide, prompting Albarn to postpone the hiatus.[141] Blur added a warm-up show at Pomona Fox Theater supported by Jockstrap on 10 April, the group's first U.S. shows since 2015.[142] The band's first week Coachella performance on 13 April drew significant media attention for the lack of crowd interaction during "Girls & Boys" and Albarn's visible frustration.[143] During the band's second week Coachella performance on 20 April, Albarn said it was probably the band's final show.[144] In early May 2024, it was announced that July 2024 will see the release of a new documentary titled To the End.[145][146][147]
Musical style and influences
This section needs expansion. You can help by adding to it. (March 2024)
↑ Lanham, Tom (August 2002). "Answer Me". CMJ New Music Monthly. p.8. Retrieved 1 October 2023. Sneering at Blur leader Damon Albarn's recent Gorillaz tour, where the spinoff group performed behind a program of projected cartoons, Oasis ...
Britpop was a mid-1990s British-based music culture movement that emphasised Britishness. Musically, Britpop produced bright, catchy alternative rock, in reaction to the darker lyrical themes and soundscapes of the US-led grunge music and the UK's own shoegaze music scene. The movement brought British alternative rock into the mainstream and formed the larger British popular cultural movement, Cool Britannia, which evoked the Swinging Sixties and the British guitar pop of that decade.
Damon Albarn is an English musician, singer-songwriter, and record producer. He is the frontman and main lyricist of the rock band Blur and the co-creator and primary musical contributor of the virtual band Gorillaz.
Parklife is the third studio album by the English rock band Blur, released on 25 April 1994, by Food Records. After moderate sales for their previous album Modern Life Is Rubbish (1993), Parklife returned Blur to prominence in the UK, helped by its four hit singles: "Girls & Boys", "To the End", the title track and "End of a Century".
Modern Life Is Rubbish is the second studio album by the English alternative rock band Blur, released in May 1993. Although their debut album Leisure (1991) had been commercially successful, Blur faced a severe media backlash soon after its release, and fell out of public favour. After the group returned from an unsuccessful tour of the United States, poorly received live performances and the rising popularity of rival band Suede further diminished Blur's status in the UK.
Graham Leslie Coxon is an English guitarist, singer and songwriter who came to prominence as a founding member of the rock band Blur. As the group's lead guitarist and secondary vocalist, Coxon is featured on all of Blur's studio discography. He has also led a solo career since 1998, producing and playing all instrumentation on his solo albums. As well as being a musician, Coxon is a visual artist: he designed the cover art for all his solo albums as well as Blur's 13 (1999).
Think Tank is the seventh studio album by the English rock band Blur, released on 5 May 2003. Continuing the jam-based studio constructions of the group's previous album, 13 (1999), the album expanded on the use of sampled rhythm loops and brooding, heavy electronic sounds. There are also heavy influences from dance music, hip hop, dub, jazz, and African music, an indication of songwriter Damon Albarn's expanding musical interests.
The Great Escape is the fourth studio album by the English rock band Blur. It was released on 11 September 1995 on Food and Virgin Records. The album reached number one on the UK Albums Chart and charted in the top 10 in more than ten countries around the world. Less than a year after the album was released, it was certified triple platinum in the UK. The album received near-universal acclaim on release.
Blur is the fifth studio album by the English rock band Blur, released on 10 February 1997 by Food Records. Blur had previously been broadly critical of American popular culture and their previous albums had become associated with the Britpop movement, particularly Parklife, which had helped them become one of Britain's leading pop acts. After their previous album, The Great Escape, the band faced media backlash and relationships between the members became strained.
13 is the sixth studio album by the English alternative rock band Blur, released on 15 March 1999. Continuing the stylistic shift away from the Britpop sound of the band's early career, 13 explores experimental, psychedelic and electronic music.
"Country House" is a song by English alternative rock band Blur. It was released as the lead single from the band's fourth studio album, The Great Escape (1995), on 14 August 1995 by Food and Parlophone. Released on the same day as the Oasis single "Roll with It" – in a chart battle dubbed the "Battle of Britpop" – "Country House" reached number one in the UK Singles Chart. The song is the band's best-selling single, with over 540,000 copies sold as of May 2014. Its music video was directed by Damien Hirst and nominated for Best Video in the 1996 BRIT Awards.
"Popscene" is a song by English alternative rock band Blur, released as a non-album single on 30 March 1992. Despite its relatively low chart placing, it has since become critically praised and regarded as one of the pioneering songs of the Britpop genre.
"Parklife" is a song by the English rock band Blur, released in August 1994 by Food and Parlophone as the third single from the band's third studio album, Parklife (1994). The song contains spoken-word verses by the actor Phil Daniels, who also appears in the music video, which was directed by Pedro Romhanyi.
"Coffee & TV" is a song by British rock band Blur. It was written by the band's guitarist, Graham Coxon, who also sang lead vocals rather than frontman Damon Albarn. The song appears on Blur's sixth studio album, 13 (1999), and was the second single released from the album on 28 June 1999. The lyrics describe Coxon's struggle with alcoholism and the song's video, featuring a sentient milk carton searching for Coxon, won several awards. Commercially, "Coffee & TV" reached No. 11 in the United Kingdom and No. 26 in Ireland. It was a major hit in Iceland, where it peaked at No. 2 in September 1999.
"Out of Time" is a song by British band Blur from their seventh studio album, Think Tank (2003). The song was written and produced by band members Damon Albarn, Alex James and Dave Rowntree, with Ben Hillier also serving as a producer. After being premiered via BBC Radio 1 on 3 March, it was released as the album's lead single on 14 April 2003, by Parlophone. The song became the band's first release without guitarist Graham Coxon. It is a pop ballad featuring acoustic guitars and bass, as well as a Moroccan orchestra. Lyrically, it deals with a civilisation that has lost touch, with Coxon's departure being referenced in the lyrics.
"Girls & Boys" is a song by English Britpop band Blur, released in March 1994 by Food Records as the lead single from the group's third studio album, Parklife (1994). The frontman of Blur, Damon Albarn wrote the song's lyrics with bandmembers Graham Coxon, Alex James and Dave Rowntree, while Stephen Street produced it.
"To the End" is a song by English alternative rock band Blur. It appears on their third studio album, Parklife (1994), and was released as a single in May 1994 by Food Records. The song describes a couple unsuccessfully trying to overcome a bad patch in a relationship, and features full orchestral accompaniment with a choric refrain in French by Lætitia Sadier from Stereolab. The song was produced by Stephen Hague, unlike the rest of the Parklife album, which was produced by Stephen Street. Blur have produced several different recordings of the song.
"This Is a Low" is a song by English rock band Blur for their third studio album, Parklife. The song was released as a promotional single in 1995.
Leisure is the debut studio album by English rock band Blur, released by Food Records on 26 August 1991.
The Magic Whip is the eighth studio album by English rock band Blur. It was recorded in Hong Kong and London, and released by Parlophone on 27 April 2015 and Warner Bros. Records on 28 April 2015. It was the band's first studio album in 12 years since Think Tank (2003), marking the longest gap between studio albums in Blur's career, and the first in 16 years since 13 (1999) to have featured the original line-up. The album also marks the return of the band's longtime producer Stephen Street following Blur (1997).
The Ballad of Darren is the ninth studio album by English rock band Blur. It was released on 21 July 2023 by Parlophone and Warner Records. The album's songs were written by frontman Damon Albarn in 2022 while on tour with Gorillaz, and composed by Albarn and the rest of the band. It was produced by James Ford at Studio 13 in London and Devon. It is Blur's first album since The Magic Whip (2015), and their shortest album, with a runtime under 40 minutes. The album's artwork features a 2004 photograph of a man swimming alone in the Gourock Outdoor Pool in Gourock, Scotland, taken by Martin Parr. Its title refers to Darren "Smoggy" Evans, the band's longtime bodyguard.
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.
