Welcome to Dissected, where we disassemble a band’s catalog, a director’s filmography, or some other critical pop-culture collection in the abstract. It’s exact science by way of a few beers. This time, we sort through the best and worst of Damon Albarn’s Britpop legends.
Blur vs. Oasis. That whole fiasco was patently ridiculous, and kind of exciting when you think about it. Pop music turned into a twisted competition: Blur’s Damon Albarn and Oasis’ Noel Gallagher spitting nasty comments back-and-forth through the media, pitting their respective singles against each other in gladiator-esque chart battles. You can’t talk about ‘90s music without discussing the Britpop craze, and Blur defined it.
On July 30th, the band will release Blur 21—an all-encompassing box set that includes every studio album, and plenty of B-sides, unreleased tracks, and other goodies. The release commemorates the 21st anniversary of Blur’s debut album, Leisure. From the über-catchy “Girls & Boys” to the ache of “Tender”, Blur’s discography holds up well in 2012. The hooks haven’t dulled through the years, Coxon’s guitar acrobatics remain impressive, and Albarn’s witticisms still resonate with the same power today as they did one or two decades ago. With the box set available and the band’s 2009 reunion (and new single) fresh in our minds, a “Dissected” only makes sense.
-Jon Hadusek
Staff Writer
Leisure (1991)
“We’re a band who could completely and utterly change everything…”: That’s a young Blur talking to Select Magazine back in ’91. A bold statement for a band riding on the Stone Roses’ coattails. Just listen to the percussion on Leisure (and compare those danceable snares and tambourines to the rhythm section in a song like “Fools Gold”). Consequently, the British music press accused Blur of jumping on the baggy bandwagon. “Everyone’s doing it, so I’ll do it too,” Albarn sings on “Bang”. At least he was being honest.
They also coped shoegaze: Albarn hides his vocal blemishes beneath overdubs while Coxon’s guitars swim in distortion—production aesthetics patented by UK contemporaries Ride and Swervedriver. Blur can do shoegaze (“She’s So High” and “Slow Down” are pleasant enough), but it comes down to originality, or lack thereof.
Character studies: Albarn sang mostly about moods and feelings on Leisure. The closest thing we get to a character is the dour protagonist of “Birthday”, who celebrates getting older by sitting alone on a park bench.
Highest charting UK single: “There’s No Other Way”. The chorus will get stuck in your head.
Best B-side: “Inertia” slouches through a stoned haze and would’ve worked well on the album proper.
Average track length: 4:11
Cover art deductions: The swim-cap lady…her eyes taunt me, as if she’s delved into my subconscious and extracted a dirty secret. She makes me uncomfortable.
Before Blur sounded like Blur: Leisure is a competent debut, but it’s Blur’s worst album. Hits like “There’s No Other Way” put the band on the map, but Madchester was dying and Blur faced flash-in-the-pan irrelevancy. The band needed an identity; the songs needed individuality.
Albarn’s anxiety level: Low
Modern Life is Rubbish (1993)
Back to the studio, Blur. We need some singles: Food Records rejected Modern Life is Rubbish when Blur initially submitted it. “Too weird. Not commercially viable.” The band begrudgingly returned to the studio and knocked out a pair of radio-friendly songs—“For Tomorrow” and “Chemical World”—much to the label’s delight.
Character studies: “Colin Zeal” (this “modern retard” seems like an asshole, always looking at his watch and what not); “Pressure on Julian” (Julian is a shopping cart wrangler with anxiety).
Highest charting UK single(s): “For Tomorrow” and “Chemical World” both peaked at #28 in Britain.
Best B-Side: “Fried” is pure punk rock. “We’re all getting fried,” Albarn shouts madly. It’s a blistering couple of minutes.
Average track length: 4:13
Cover art deductions: My favorite Blur sleeve. I loved choo-choo trains as a kid and seeing that locomotive is instant nostalgia.
Britain Versus America: Was the working title for the album. Albarn didn’t care much for the United States, and while his lyrics critiqued Anglo tradition, they also commented on how those traditions were gradually becoming Americanized. This level of social awareness would come to define Blur’s music and set the band apart from rival pop acts.
Albarn’s anxiety level: Medium
Parklife (1994)
“Girls who are boys who like boys to be girls…”: Lead single “Girls & Boys” launched Blur to pop stardom. On the radio, in the club, in the record store—the song succeeded in all venues; the band’s biggest hit since “There’s No Other Way”. Alex James’ hooky bassline accents a house beat and some of the catchiest melodies in Albarn’s arsenal. This New Order-flavor of dance-punk was the antithesis of the grunge dominating America back in ’95.
Character studies: “Tracy Jacks” (a civil worker in his late 40s descends into hedonism, runs around naked, bulldozes his own house); “Parklife” (various people are criticized for their banalities); “Magic America” (Bill Barret’s trip to America is filtered through Albarn’s cynicism).
Highest charting UK single: “Girls & Boys” reached #5.
Best B-Side: The bouncy “Magpie” echoes the baggy rhythms of Leisure.
Average track length: 3:17
Cover art deductions: The album was originally titled London and had a cart of fruits and vegetables on the cover. Good thing they changed it. The greyhounds make for an iconic sleeve that also matches the album’s British theme. Greyhound racing is a popular UK pastime.
Embracing British-ness by satirizing British-ness: Deconstructing Britain with sociological precision, Albarn is sarcastic (“Magic America”), hilarious (“Parklife”), and occasionally tragic (“Clover Over Dover”). Cue the Ray Davies comparisons.
Albarn’s anxiety level: Medium
