How Bowie could not give everything away

The temptation was to return to blog posting on Monday 11th January. This was the day the world at large heard of the passing of the music icon, artist, rock god, known to most of us as David Bowie. But jumping in with a somewhat raw statement was a thing many seemed to be doing. Many articles interesting to read, but with a slight whiff of “getting my angle out first”, before someone else does. And did I have anything different to say anyway?

I listened to “Blackstar” the final David Bowie album prior to his passing, on its day of release, David’s birthday, the 8th of January. Before release I had read reviews, most of which said the same thing, little bit of a departure, return to form, generally pretty good, the jazz musicians here have a good thing going on. I played it twice that day. It was not underwhelming as hyped albums often are. It is interesting, but does need a few plays to open up, usually the sign of a good album. It has since grown on me some more. It is somewhat different compared to preceding album “The next day” which whilst enjoyable, was a fair nod to the past. This one different musicians, a different sound not really “bit of the weird”, but still some mystery, still engaging. A bit, well, Bowie really. Somewhat of a delight.

But there was somewhat of a feeling something a little off. Not in the quality of the album but the messages as an art piece. The black star, a metaphor? Paying respects? Remembrance of the Starman? Note, also a cancer reference (although I didn’t know that at the time). The bleak feel of both music and lyrics, and slightly detached lyrical references such as “Look at me, I’m in heaven”. The Lazarus video. But also interesting that choice of last track. I’ve always liked the album as a concept and always found the choice of the final track something to think about. If this is the final thing you do, or at least until the next one, then that track is what you sign off with. With Backstar we got “I can’t give everything away”.

Seeing more and feeling less
Saying no but meaning yes
This is all I ever meant
That’s the message that I sent

The most “pop” song on the album. Using the classic pop song trick of saying less but seemingly saying more. Well more to interpret, so more questions anyway. Listen to the chorus with “I can’t give everything”, then as it pauses before “away”, and wonder what he is actually referring to. Good songs are often written to provide a relatable thing to draw us in, and ambiguity or space left for our own interpretation. This album seemed very layered off the first few listens, and even more so now we know that he knew, that this might be his last. It makes for poignant listening now, especially that last track. Telling us something, and having a laugh with its possibilities as an art piece. And in that, tellingly, was one of my favorite things about Bowie.

As anyone familiar with Bowie’s music knows, a journey through the albums in order yields a journey through different musical styles, different characters, different moods and messages. But aside from inhabiting different roles, David has consistently worked with different musicians. Musicians who bring something different to his songs and melodies, making an easier transistion to work different ideas or go in different directions, from what had been recorded before. Often to great effect. The seventies in particular yielded a run of albums that might be unparalleled in both quality and styles. Try Hunky Dory, Ziggy Stardust, Diamond dogs, Station to station, Low, as just some. The first two alone would make most careers! Arguably the eighties and nineties are more of a mixed bag, but plenty of high points in there. But what makes them good is not the ability to change, experiment and try something new, but the ability to connect. Good songs engage the listener in some way. Words might tell a story, or share a common experience or feeling, but also allow the listener to bring their perspective into it. Maybe a phrase in the verse or chorus when attached to a melody, or sung a certain way, connects emotionally. On the flip side, the music might hook in the listener via a myriad of ways. A catchy melody or beat, a guitar riff, or a new noise, a certain tempo or key. If you get this with both the words and music you get good and often great work. Bowie had this  understanding with music. He had this great way of bending convention, creating mystery and inner beauty, drawing in all kinds of different people who realized that yes, there is a place for them. He could change styles yes, but still with an eye on engaging the listener. Making that connection. Highlighting the different places in art, and inviting in the different people who inhabit or enjoy them. When you can do this with different musicians and make the connections consistently then it also brings something else. Possibilities.

There are a lot of bands or musicians out there, we all have our favorites, who mainly work on variations on a theme. Similar stuff each time. Sometimes that not a bad thing, sometimes it is, giving the impression of nothing else to offer or a creative tank run dry. Bowie though, always had possibilities. Somewhere else he might go. Sure some might say “well it’s possible anyone might do this or do that” in an anything is possible sense. But with Bowie things were possible in a real sense. He was not afraid to go somewhere different. It made things exciting, interesting, worth experiencing and seeing where the connections might lead. What different layers might exist, what new discoveries  might be found. He influenced people, and sometimes changed their lives just by showing us what possibilities are, what could be realized. What being different is. Not everything worked but a lot of it did. His hit ratio better than most. Wonderful quality control. Wonderful talent. It really did feel like the possibilities were endless because he was that good. His body of work speaks to this, as does his sphere of influence. And he always understood that in creating the layers, you leave a bit of room for the listener to bring themselves into it. That bit of mystery. That bit of ambiguity. Don’t give everything away, even if you want to. That last track on Blackstar, no? Even at the end he wanted to explore that space between connections and possibilities. We might ask, is that what he really meant? And he might answer that is all he ever meant.

David Bowie I always loved your work. As one of the true icons in a musical sense, you were right up there at the top. After time away from music, from 2003 till the next day, I came to appreciate your work even more, if that is possible. More reason to enjoy what you brought to us. Blackstar your final gift on your terms. Your death, a loss to many. Thank you for the art and the inspiration, the connections and the possibilities. Thanks for not giving it all away and leaving us more to find and learn about, and understand. Thank you for the music.

P.S. Just yesterday I was listening to the Ziggy Stardust album for the, I don’t know, 500th time. I still notice things going on with the vocals or guitars, and how the sound is used that I had not noticed before. So good…

A haiku of music

"The Seer" by The Swans

“The Seer” by The Swans

I did have a slightly linked post almost ready, but in a slight departure from the last post, and as I always like a music post from time to time, I am going to combine an update on the “latest” music I’m currently listening to, with some Haiku. Well three Haiku, somewhat linked to each other and the rest of the post. Some readers might want to skim through the music part. Or the Haiku part. Or maybe the whole thing and just enter what you are listening to in the comment box at the end.

Continue reading

The Monday Mess – The irony of good music – 19 Nov 2012

YupWelcome to the Monday mess, where this Monday we shall, mainly because I had most of this written, and I didn’t want to start anything else, via the medium of a small essay, take a flying look at the irony of good music. Will you still love me tomorrow?

I do not know this woman, she is just appreciating the irony of good music.
(Image courtesy of Morguefile.com)

In times gone by, that being the time before it was easy to get music off the internet and download individual tracks, the single used to be the selling point, and often the introduction to a new album. Originally the album was just a collection of tracks used to get more money from the consumer. Then Artists like the Beatles, The Beach boys, The Who, and many, many more utilised it for larger artistic statements. Record companies realised early on that they could make bigger profits from the album. Artistic statements aside, the album needed to be made, it needed to be sold, and some singles from the album was the way to sell it. Problem is, this often leads to albums with some good singles and some filler. Early Stones or Who anyone? The reality is there are good albums and bad ones. Singles are or were, not always a good indicator of how good the album is, or was. But unless you read reviews you had nothing else to go on other than the singles. Another problem is a good album does not always have good singles, or singles that catch on. Those albums might not get heard much no matter how good they are. Love’s “Forever Changes” being one example which has become a cult classic over time, and is genuinely a great album.

Of course this is the scenario in very general terms. Bands often built an audience through touring or word of mouth. But the point I’m getting at is a single is not always an indicator of how good an album is. The same tracks aside, you could almost say the two are unrelated. You could easily miss a lot of good music, and easily build up a collection of dross. The irony of good music, is that unless you get proper access to it, and a time to explore it, then you could easily not even discover it. Let me explain a little further.

Often good music or great music is layered, or the quality is not always fully apparent on the first listen or two. It takes our brain a couple of listens to decode it before the qualities begin to shine through. A quick listen on the radio isn’t going to get you that. But from the radio, that is what most people want. We more often need something that is catchy, that has the hooks that pull you in straight away. So receiving music that way, is mostly only a certain type of music. In most instances, anyway. That explains why when you buy an album, even one you soon come to love, it does not sound too impressive in the first listen or two. Unless of course it is full of catchy pop hooks. I cannot remember the amount of times I have bought albums and then had to give them a few days of plays to bed into my mind before deciding whether I really liked it or not.

Generally though, even if you don’t buy a lot of music, you will have some variety of taste. You might have been exposed to it from your parents, family or friends. You might be exposed to it through some constant radio listening, or certain tv shows. There will usually be something that didn’t grab you instantly but crept up on you over time. And there will be the opposite, something that stuck in straight away and sounded brilliant. But after a few plays that initial buzz has worn off. It’s ok but not that amazing. Then a few listens later and it is starting to do your head in. A simple truth in music is that writing music which is catchy, and stays with you, and maybe even reveals more detail over time, is difficult. Some are lucky to put together a good one on the fly, but repeating it? Not so easy. You see the irony of most good music is that it takes some time to grow on you, and reveal itself. It’s like a good friend, more just keeps on coming, even if the way you met was nothing special.

And if you survived that, or just skimmed over it, here is the same argument in “Nonet”:

To your ears, I do not sound like much

but I don’t give it up like that

I’ll tease, and let you taste it

draw you in, be your muse

wonder wat you missed

listen again

soon I will

grow on 

you

So with that, I’m signing off.

Have a nice week, and tune in somewhen further down it for the next brainsplats blog post.

Lexicon word of the day: etymology.

The music map of me, and you

(Image courtesy of Microsoft Clipart)

In most cultures around the world, in some way, our lives are linked to music. It might be through traditional songs that tell stories of our culture, it might be from songs in the music charts, it might be songs you hear on a tv show, or it might be songs used to stir emotions which on the surface might seem more primitive, but have a deep underlying resonance. Underlying this might be how we universally have an innate capability to understand music, and to distinguish different musical notes and tones, even if we understand none of it. “This is your brain on music” by Daniel Levitin is an excellent book on this subject, but that is a different blog piece. I’m interested on a different take, and in particular how it works in Western cultures.

Any excuse to mention this album again huh?

Much as songs are used in some cultures to document historical events, and passed on from generation to generation, Western cultures experience this in a different way. There is so much music around these days, and we get exposed to a lot of it. We might have similar interests in music, and have experienced different events with the same music, but all our experience will be different. If you were able to draw a map highlighting how music has impacted your life, you will see that certain songs or pieces of music link to certain events. It could be that you like a song a lot and use it at a significant life event such as a wedding, or it might just be that something was playing as something happened. I’m not talking about your favourite tracks necessarily, it might not be something you chose, or even like, but nevertheless, in some way it is linked. If you were able to somehow extract all these different songs and pieces of music, you would have a music map of you. It would need some translation, but I would hazard a guess that everyones map would be quite different, even if some destinations are shared. I wrote a short piece of fiction called “the unusual map” that began to explore this idea, which I published on the blog last week, however let me examine that idea further with some examples from my life.

In the early days of January 1994, I was in a branch of the long since departed UK music chain “Our Price”, actually one of the earliest casualties of music downloads, and approached a listening post. They had on several not big selling, but critical hits from the year before to listen to. One of these was “Giant Steps” from a band called The Boo Radleys. I had heard of the album, it being Select magazine, and the NME’s album of the year. I had not hear anything from it. I listened to first track “I hang suspended” and immediately knew it was for me. I bought the album. It subsequently soundtracked a significant part of college, and my first year of university, and is still one of my all time favourite albums. This one event however, had a big influence on where my music tastes went, and as regular readers know, I’m a big fan of music.

Sometime in the early 2000’s I was in a fast car with a good friend of mine. He was driving down country lanes at night far too fast. Don’t worry he said, I know these roads well. He has pretty much terrible taste in music. The track playing at the time was “Money for nothing” by Dire Straits, not a favourite of mine it has to be said. I was convinced as a music snob of varying degrees, that I was going to die an ironic death soundtracked to this. Thankfully we got home safe although every time I hear that track now it still reminds me of that drive.

I have an album I like a lot but by someone not really cool, which I call my guilty pleasure. I won’t tell you what that is, because I have a post about it soon.

Bunsen burner” a fun track by musics biggest failure (his words), John Ottway, was a nice live moment which myself and my then girlfriend, now wife, experienced at the half moon pub in Putney back in 2007. It was unexpected fun as we thought the gig would be crap, and still reminds us of those early days together and what seems quite a different time back in England.

“Changes” a track by Sugar I originally got in 1992 on a cassette from long dead UK music magazine “Vox”was incredibly significant in where my music tastes went, even more so than the Boo Radleys. The album the track came from “Copper Blue” was the first CD I ever bought, and one of my favourite all time albums. I heard this album played live by Bob Mould last week in its entirety which I loved. This cassette moment reminds me of my old walkman, some lazy times hiding in my bedroom at my parents house, a fun time in buying / reading the music press, as I discovered a lot of new things, and evenings this summer blasting the remastered version of the album through great headphones. That track and album lives with me.

Elbow’s beautiful track “One day like this” which has become a wedding favourite, was used as the money dance for my wedding. It obviously reminds me of that, actually one of my favourite parts of the wedding, but also of the times around it, and of leaving most of my family to move to the US. If you don’t know the track, take five minutes to check it out below. I’ll be surprised if you don’t like it.

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These are just a few of the destinations on what would be my music map. An alternative way of looking at your life and how it has been affected in some way by a small part of your culture. I hope you followed what I was getting at, maybe found the journey interesting, and hopefully made you think of some significant links in your life. If you have time, tell me below of a destination on your map, the track and how it relates to you.

On another occasion I think I might revisit the character from the short fiction and use him as part of a different story. But that is a different post.

Lexicon word of the day: distrain.

The point when you realise it is better than you thought

It’s a bit like parts of my college and university years in a box.

I’m still thinking about “The blog post trail”, so I will pick this one up at a later point. Today something else. It is a bit music orientated so some of you may wish to press like and move along. Or perhaps you are interested in what I have to say today…

With many things in life, there comes a point when you realise something has changed without you being aware of it. Perhaps you are too familiar and find it difficult to step back and evaluate with fresh eyes. Maybe the change has been subtle to your eyes, like the way you don’t see your child grow day to day. Whatever the reason, it happens, then one day you get a fresh reference point, and realise things have changed. It is like listening to a music album again that you previously disregarded, and realising that it actually, is very, very, good.

Recently I purchased the box set “21” by the English band Blur. If you are from the UK, you will almost certainly have heard of them. They are held in such high regard these days, that they played a concert as part of the Olympic closing celebrations, in Hyde park, just across the city from where the Olympic closing ceremony was taking place. It was available the next day on itunes (and on special CD editions coming soon). If you live in the US, you may well be familiar with “Song 2” (Whoooo Hoo). If you’re a music fan in the US, you likely know of Gorillaz, that Damon Albarn was the main musical whizz behind the music, and had discovered how good Blur actually were by checking out his back catalogue. You may even be familliar with some of the solo work from guitarist, Graham Coxon.

Myself I was a fan from quite early on, although maybe not right at the very beginning. I knew of a few songs including “Theres no other way” but not taken much notice. Then at some point, as I was getting into Indie music about this time, I got with the single “For Tomorrow”. It really struck a chord and I was with them from that point on. The second album “Modern Life is Rubbish”, contained that track, and listening to it now, the version in the box set is excellent, it might be my favourite Blur album. This album was a reaction to music coming out of the US, e.g. Nirvana, Pearl Jam, et al, and a poor US tour they had experienced. They were in many ways still trying to find their voice as a band, and responded with this, the first in a Trilogy of “British life” albums. The second album of the trilogy, pretty much a perfect pop album “Parklife” propelled them into the British mainstream and was actually a key album in “Indie” music becoming the more mainstream thing it is in the UK today. The feud with the other big Brit band Oasis (more on that later) also provided an interesting focal point. That album is arguably their best.

The next four albums finished up the “British” trilogy with a mish-mash of styles (The Great escape), sounded a bit more american indie rock (Blur), a bit more loose, experimental, a more jamming style (13), ending with an album mostly recorded without founding member and guitarist Graham (Think Tank). All four albums sound completely different to each other.

The box set, doubles up each album (if buying the CD version) to contain a second disk of B-sides, fan singles, one off singles, and pretty much everything else released at the time. It also contains four extra disks of unreleased tracks, demos, and rehearsals. I’m still to get to those four. What it did give me chance to do was to play everything again, including the second disks as I had many of the singles, in order. The progression through seven albums is amazing. There are the odd duff tracks (obviously more amongst the b-sides etc), but generally speaking, no drop in quality, if anything, an increase. What amazed me more was that I had always been a fan, but now I was looking at them again virtually with fresh eyes. Blur had a progression similar to that experienced by the Beatles (and I’m not directly comparing the two), albeit with slightly different types of music and influences, and not the “one of the originals” position in pop / rock history. You can clearly see the music change, and the wealth of ideas. I realised that there catalogue stacks up against many of the best bands. To illustrate, try to choose the best 15 or even best 20 tracks. There is so much choice, it is not an easy job. After I had came to this realisation, I spotted this article on Stereogum, which had the same problem trying to find the best 10. It also was an admission that yes, Blur had not been big in the US, being late to the party in that respect, but their catalogue sure did need revisiting to see what you were missing. And it sure has some highlights.

Back in the mid nineties, as Blur released “Parklife”, new rivals Oasis released their debut “Definitely Maybe”, a critically acclaimed album and at the time the biggest selling British debut of all time. Both albums were very good and something to be proud of at the time with the rise of Britpop. Then with the imminent release of albums “The Great escape” and from Oasis “What’s the story, morning glory”, they went head to head with single releases on the same day. Both relatively poor singles I might add, “Country house” and “Roll with it”. It made the national news. Blur got to number one. However Oasis had “Wonderwall” and “Don’t look back in anger” on this album, and achieved greater sales. As it was put, Oasis lost a battle with the first singles, but won the war. But in retrospect, Oasis followed this up with a cocaine fuelled, poor follow up, then a worse one after that. They did better than those two albums, but never achieved the heights of the first two. Whilst Blur changed their sound album to album, going from strength to strength. Which is not to say Oasis don’t have some brilliant tracks, e,g singles like “Live Forever”, or album tracks e.g. “Cast no shadow”. But in retrospect, who really won that war?

Blur have become, through talent and hard work, one of the UK’s most loved bands, particularly for people of my generation. It is interesting that many music fans in the US are starting to realise what they have missed. Lot’s of great songs, lots of great sounds, and lots of fun. At some point I went from being a fan, to being a fan who realised that Blur long since became a key band in British history, like e.g. The kinks, The Small Faces, The Smiths, Roxy music, or many more.

On an individual album basis, I recently had a similar realisation about David Bowie’s album “Low”, and how good that is. But I wanted to write about Blur.

Lexicon word of the day: Paseo.

Am I too addicted to buying new music?

Some recent buys and yes, I’m boring enough to burn downloaded music to CD so I can also play it via my stereo.

No results to “the experiment” parts 1 or 2 this week, I haven’t got round to writing it yet. My mind is on other projects, so I had to add a bit of finish to this half written post, instead.

I love music. Regular readers of this blog will know and understand this. An early post of mine discussed how music influences me, or more specifically, what music and writing have in common, to me anyway. I’ve blogged on music lots of times, although not too much recently. I’m always hearing new things I like on radio Sirius XMU, or reading about music that sounds interesting in Mojo magazine or on Pitchfork. So I like getting hold of it. I’m mostly talking about albums here. The snob in me looks down on just buying individual tracks. I’m an old timer in that sense. You can tell I’m a music fan when I love the album over downloading seemingly random tracks.

My current dilemma involves buying new music. Although I prefer CDs (for the quality of the format), I’m quite willing to try new music as downloads, especially when the price is good, that always seems to serve as a good introduction. But naughty Amazon.com keeps putting albums on a $5 or sometimes even less, price. So what is a music fan to do I ask you? Ok I shall give you the answer. Buy some music. Bring it on…

So I both do, and did. And you know what, it’s great. Problem is, when you get a new album, especially a half decent, or good, or great one, they take four or five listens to really open up and to begin to get to know the songs a bit. Your mind needs time to decode the layers. Usually a song that sounds great straight away, rarely lasts that long, before fading into the sometimes played. So time is needed to play new music, to fall for the lyrics, the melodies, the beat, the timbre, or whatever facet grabs you most. And I’m now getting a bit of a backlog of albums I’m trying to familiarise myself with. Here is a list of recent buys, loosely grouped into genres although admittedly some could cross into several groups:

Pop / Folk

  • The idler wheel is wiser than the driver of the screw and whipping cords will serve you more than ropes will ever do – Fiona apple
  • What we saw from the cheap seats – Regina Spector
  • Thats’s why God made the radio – The Beach Boys
  • Yours trully cellophane nose – Beth jeans houghton
  • Home again – Michael Kiwanuku
  • Tramp Sharon Van etten
  • Valtari – Sigur Ros
  • Bloom – Beach house
  • Master of my make-believe – Santigold
  • Dr dee – Damon albarn
  • Huh? – Spiritualized

Rock / Alternative

  • Maraqopa – Damien jurado
  • Oceania – The Smashing pumpkins
  • Neck of the woods – Silversun pickups
  • Open Your Heart – The Men
  • Celebration rock – Japandroids
  • Ghostory – School of seven bells
  • Funeral Blues – Mark Lanegan
  • Blunderbuss – Jack White

Dance / Soul

  • Hurry up, we’re dreaming – M83
  • Wonky – Orbital
  • The bravest man in the universe – Bobby Womack
And this is not everything either, there is probably some I’ve missed. Some of the above I am more familiar with than others. Thus far I would recommend checking out tracks from the Bobby Womack album, Fiona Apple, Jack White, Damien Jurado, Spiritualized, and if you like a good rock / slightly punk album, Japandroids. Though that said, none of the above strike me as bad thus far. For example if you’ve liked Orbital in the past, you’ll probably like that one. Oh and I’ve also bought the Sugar “expanded” reissues (when I was in the UK where they came out earlier and had dvd discs). I loved that band, they are one of my all time favourites. I’m obviously familiar with those though.
To help with this fun problem I recently received (a few weeks ago) an expensive but completely fabulous gift from my lovely wife and son. It was a pair of these superb Grado Labs SR225i headphones. You can keep your Dr Dre, or Bose headphones, I’m not criticising them, and I do own a few pairs of Sennheisers which are decent, but I prefer Grado Labs.

quiet now.. come to daddy..

This particular pair are open headphones which means if you are sitting nearby you will also be able to hear what is being played. But as anyone familiar with how headphones work can tell you, you can get a much better sound out of open headphones than you can closed ones. It is to do with the airflow. These headphones really are fabulous, they do a great job of opening up the sound, great clarity on instruments, great separation, they introduce things you have not noticed before. As a downside, they also show up when MP3 quality can be bad (the detail isn’t in the file to play), or when something has a dense mix and the separation is not there. These headphones are great, noticeably different from e.g. a $50 pair. An upgrade from my older pair Grado Labs Sr60i (also very good). And more encouragement to buy more music. Oh well, I love music, what can I do.

Music. It’s my addiction. Am I addicted to buying new music? Well of course, and old music as well. I love it. It is entertaining and inspiring in so many ways. If only I had time to do it justice. This addiction I’m ok with. Oh by the way, suggestions for other new good music are welcome below.

Lexicon word of the day: pudendum.

Blur – The alternative take

What do you need to know about them?

Blur are (or were) a British pop / rock band consisting of four band members; Damon Albarn (mainly vocals and keyboards), Graham Coxon (Guitar), Alex James (Bass), and Dave Rowntree (Drums). They appeared in 1991, before stopping around 2003 after Damon and Graham had a falling out. They made friends again and re-appeared for some emotional gigs in 2009, including a triumphant headline slot at Glastonbury, and a Hyde park gig recorded and later released . They won the Brit award for “outstanding contribution to music” at the 2012 Brits. If you are British I don’t see how you cannot know who they are. They are pretty much a British institution, most people have a soft spot for them. If you are American, you may know them, might know them for “Song 2”, or won’t have a clue.

Where did I first become acquainted?

Quite probably from fairly early on. In the summer of 1993 I was working in the warehouse of a crappy retail chain. A least it afforded me the opportunity to have the radio on all day, at a time when I was really getting into music again. I loved “For Tomorrow” and was excited about the follow up singles. This being a time when single releases could still be a little exciting. That sounds a bit daft these days. Anyhoo, I got the album “Modern life is rubbish” and never looked back.

Parklife was an even better follow up and took them on to huge success in the UK. In 1995 when they had the singles war with Oasis for number one “Country house” Vs “Roll with it”. I bought both editions of the Blur single. And the Oasis single. Sadly both these efforts were pretty weak for both bands at the time. Still it was fun at the time.

The single Beetlebum actually got me into the band Pavement which in turn gave me one of my favourite albums of all time, Pavement’s “Brighten the corners”.

What to buy:

Depends what mood I’m in. I have everything including the album of remixes, and a live bootleg. However this is my post, so I’m choosing:

  • Blur – The one influenced by American bands after getting a bit fed up of Britpop. Has song 2 (everyones heard of that).
  • Parklife – The 2nd album, the big britpop one, chic full of good tracks and singles.
  • Modern life is rubbish – The second album containing lots of pop, but a bit less melodic than Parklife. Still a fab album, one that reminds me a lot of College.
  • 13 – The broken hearted Damon one, a bit more “art rock” whatever that means, more Graham guitar brilliance, more introspective lyrics.

Some key tracks to listen to:

There is a really good singles compilation (yep I have that too, even though I already have all the tracks), so that is a good place to start. With that in mind, heres some alternative good tracks which might not have been singles (or are just favourites of mine).

  • Sing
  • Theres no other way
  • For Tomorrow (full version not single edit)
  • Tracey Jacks
  • This is a low
  • He thought of cars
  • Yuko and Hiro
  • Beetlebum
  • On your own
  • Moving on
  • coffee and tv
  • battle
  • trimm trabb
  • on the way to the club
  • Black book (b-side to the music is my radar single, really ought to have been on an album)
Blah, blah, so many good tracks. Listen to some tracks here. Check out the video to “The Univeral” below:

Anything to avoid?

The first album “Leisure” is a bit patchy but does have a few very good tracks. “The Great Escape” is a bit overcooked but still decent, so really it should not be in this section.

Anything else?

They have their own website here and a Facebook page if you want to look that up. There is also fabulous film “No distance left to run” which tells the story of Blur and is available in an edition containing one of the hyde park gigs. There is also an old tour film from the Modern life is rubbish era called “Star shaped” (Yep, I have that as well).

Damon Albarn has had a busy music career. You can check out more of his work in the following:

  • Gorillaz
  • The Good, the bad, and the Queen
  • Mali Music
  • Rocket Juice and the moon
  • Dr Dee
Graham also has had a solo career releasing eight albums. Check out:
  • Happiness in magazines
  • The Spinning top
  • A & E
Plenty of books are available but I would recommend “Blur 3862 days, the story of blur” by Stuart Maconie, and band member Alex James book “A bit of Blur“. A large box set “21” containing all the albums (remastered) and plenty of unreleased tracks, is to be released on July 31st 2012 (pictured at the top of the post).

Enjoy!

Lexicon word of the day: eristic.