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About BLUR Vinyl
I am great fan of their Life(MLIR, Parklife, TGE) trilogy and the series will always have a special place in my heart. However, I enjoy this album much, much more than 'Blur' or '13', a good sign since I've only gotten the album for less than a month, and still on my journey of discovery.
The songs are varied in style, the oompah-pah-fun-fair chassis that defined the three Life albums is still evident (which is a Blur feature that i've always loved), exotic instruments adds interest, Damon's voice, which alternates between a sleepy resentful drawl and a that of a charming naughty boy's, entertains, all of which make for a great listen.
The highlights for me are :
1. Ambulance : crazy casio loops punctuated with tender lyrical moments such as "I was born out of love, It's the only way to get into this world"
2. Out of Time : this is a great example of not trying to hard. A quitely-beautiful genious of simplicity, layered with a background of haunting morrocan orchestra. At first listen it sounded plain, but after awhile it was magic.
3. Good Song: A nice easy tune that conjures images of lazy, carefree days. It's a Good Song, really.
4. Caravan: Beautiful, I expected it to go into guitar overdrive and then remembered that Graham is not in the band anymore. Which,frankly, is not that bad a thing after all.
5. Gene by Gene: Extremely catchy, happy, jumpy, can't stop singing to this. Dan Abnormal on a pogo-stick!
The only major grouse I have is the inclusion of Crazy Beat which I believe is the second single of the album. Not only does it reek of the ghost of Song2, it sounds just like Bugman, only more brainless having been stripped off Coxon's redeeming guitar riffs. But it seems that a lot of people love this track so it might be that I'm getting old.
In my opinion, Think Tank doesn't alienate early Blur fans as much as their two previous album. This, to me, is FINALLY the proper continuation to The Great Escape.
Blur - Leisure [RARE] - Leisure [RARE VINYL]
I've been a Blur fan ever since I heard "There's no other way" in '91 when I was in high school...which is still ranks high with my favorite songs of all time, & by far my favorite Blur song. I liked them still after hearing the different sound of "Girls & Boys" in '94, & the more songs I heard by them over the decade, the next being "Charmless Man", the more I liked them just cuz they were so diverse. But if I were to pick just 1 Blur album, this would be it (actually, it's the only Blur album I own). Sure, Damon had better lyrics to write, but these songs just sound great, & they don't all sound the same, although that's not always a bad thing. "She's so high" is a great one too, & really can't remember the other titles cuz I just always listen to this straight through cuz there's really nothing to skip over. And still when it comes to the end, I'm like "it's over already?" I'd recommend this to new Blur fans who know there's more to Blur than Song 2!
This is a collection of demos, not really a finished album-- as such it is more fascinating than perfect-- most of this is Albarn in a hotel room with a tape recorder. But it's genuinely exciting to be a party to such an intimate part of the creative process. People have called this album self-indulgent. I say thank you Mr. Albarn for letting us in. You can hear the roots of songs that later, when finished, found their way onto albums. And some that ended right here.
In the past ten years, the Gorillaz have accomplished a lot in a short amount of time. Once conceived as a side project of Blur frontman Damon Albarn and "Tank Girl" creator Jamie Hewlett, ironically, got more attention and noteriety than Albarn's actual group. Their success is very surprising, given that Gorillaz isn't even a real band and they release a commercially viable album once almost every five years. While Dan The Automator produced their 2001 self titled debut, and Danger Mouse helmed their sophomore effort "Demon Days", this time around, the Gorillaz decide to produce the new album "Plastic Beach" themselves. On this album, they continue down the road of genre-bending madness, surprise cameos and all star guests appearances.
Starting off the album is "Welcome To The World Of The Plastic Beach" featuring an unlikely cameo from Snoop Dogg. This album also has appearances from music legends from all walks of life. Starting off the cameos are Bobby Womack on the first single "Stylo" and the ambient ballad "Cloud Of Unknowing", Lou Reed on "Some Kind Of Nature", and The Fall frontman Mark E. Smith on "Glitter Freeze". Even members of The Clash (Mick Jones and Paul Simonon) make cameos as well. A Gorillaz album wouldn't be complete without guest appearances from some of the most respected names in hip hop. De La Soul make their second appearance on a Gorillaz album on the catchy "Superfast Jellyfish", Mos Def appears on the aforementioned "Stylo" as well as on "Sweepstakes" and British rappers Bashy and Kano show up for the uptempo dance number "White Flag". The album closes out with the rather brief "Pirate Jet". As much genre hopping that goes on with a Gorillaz album, sonically they play it straight through most of the recording. Much of the album bears a heavy synth sound throughout, though it's a pretty strong record musically. In short, "Plastic Beach" is worth checking out.
2-track UK limited edition 45rpm 7" orange vinyl single on Food, 1997. Contains "M.O.R." (Road Version) and "Swallows In The Heatwave."
Blur Coffee + TV [RARE] - Coffee + TV [RARE VINYL]
A1 Coffee + TV A2 Trade Stylee (Alex's Bugman Remix) A3 Metal Hip Slop (Graham's Bugman Remix) B1 X-Offender (Damon / Control Freak's Bugman Remix) B2 Coyote (Dave's Bugman Remix).
It is refreshing to hear Ghram on vocals for a change. This song is indeed great as is Bugmann. Bugmann reminds me of a Cure song for some odd reason Both songs are definately hits and deserve more airplay than they are currently getting here in Los Angeles!
The Great Escape [Import]
"The Great Escape" from 1995 has been called third stage of Blur's Life/Brit-pop trilogy that began with "Modern Life is Rubbish" (1993) and "Park Life" (1994). The band went after these three albums for a simpler and less produced expression.
Without being quite as consistent as its predecessor "Park Life", "The Great Escape" remains as one of milestones among Brit-pop albums. With Damon Albarn in the lead Blur continued the English pop-songwriting tradition, which was started by people like Ray Davies and Pete Townshend in the 1960's.
The album includes some of the group's biggest hits such as "Country House", "Stereotypes" and not least the band's possibly greatest song, the grand ballad "The Universal" - a track which alone is worth the whole album.
Other tracks that lift the album up to belong among the greatest albums of its time are the delicate ballad, "Best Days", while "Top Man" and "Charmless Man" both have charm and bite.
Some of the album's less catchy tracks, can be seen as advance warning of what was to come from the band on their subsequent albums; this applies for, to pick out two, "He Thought of Cars" and "Globe Alone"
This cd includes "Crazy Beat" album version, which is a great uptempo track with a great guitar riff, sample and fat beat which was produced by Fatboy Slim. If you dont own "think tank" blur's latest release, well, the rest of the cd is nothing like this song. ( for a more adequate previez of what the cd sounds like listen to the second single "out of time")
I found the alternative video of "crazy beat" included really boring. It starts out interesting, but it never picks up. Photography is nowhere near amazing, the action is tedious, and not entertaining. The only curious thing that keeps your attention is the band either pretending to playing another song or just pretending to play offtempo, or just fooling around.
"Don't be" would be only reason to get this cd, if you already own "think tank." The track has a slight different feel than the rest of the songs in the LP, yet it still has that gloomy atmosphere and "gorillaz-remniscent" production the cd has. It features great lyrics and a great brass arrangement. I really believe this could have been a great track on the cd. Could have "lightened up" the tank.
Because only 1 out of 3 items in here is worth it, if you are not a collector, youre better off buying this when the price is a little lower or its released nationally... or you could always buy it used on amazon.
There's No Other Way (Remix) - There's No Other Way (Remix) RARE Vinyl
This four-track CD-single features Blur's first major hit 'There's No Other Way,' and three B-sides. The title track, taken from the band's debut LP Leisure, continues to elude guitarists all over the Western world with its mad sliding riff and tape-loop solo. 'Inertia,' a slow, psychedelic groover, features one of Damon Albarn's best vocals, while the somber character study 'Mr. Briggs' brims with inventive guitar playing from Graham Coxon while also hinting at the lyrical direction of the British Trilogy. 'I'm All Over' is a slight, though fun track. This is nice to own, but ultimately essential.
Even the best bands, the biggest bands, the most important ones, are cosmic accidents, and a worldbeating career can hinge on a brief encounter. Blur’s story begins at Colchester’s Stanway Comprehensive School in the early ’80s, and a feisty collision between recent East London transplant Damon Albarn and local lad Graham Coxon.
“First impressions of Damon?” Graham would recall. “Black mac. Very white shirt. Small Cary Grant tie knot. White socks. Very nice, rude boy shoes. I was wearing Tuf brogues and he said they were fakes.”
An alliance was born, intense and challenging. At lunchtimes the two would obsess over The Jam, 2-Tone and Quadrophenia – prophetic in more ways than one. Later when art student Coxon joined Albarn’s pre-Blur band Circus, he brought instant guitar ideas and a bass-playing pal from Goldmith’s Alex James, who adjudged the music “shit” but could smell fun a mile off. The drummer, Mohawk-coiffed computer programmer Dave Rowntree, stood slightly left of Tony Benn and beat the tubs like a savage.
Together they became Seymour and then Blur: architects of a resurgence in British music as their first quartet of albums – Leisure (1991), Modern Life Is Rubbish (1993), Parklife (1994) and The Great Escape (1995) – reconnected home grown pop with its classic paradigms – Ray Davies, Bowie, The Jam, John Barry, Syd Barrett, The Specials – and Damon Albarn matured into a poignant, telling painter of cultural landscapes.
Their first Number 1 album, Parklife, stayed in the charts for a mammoth 90 weeks and the following year, the band won four Brit Awards, a groundbreaking crossover moment for alternative music. On June 17, Blur played to 30,000 fans at East London’s Mile End Stadium and were joined onstage by Quadrophenia star Phil Daniels, who reprised his monologue from the album’s swaggering, ubiquitous title track; in August of that year they sold 274,000 copies of the Number 1 single Country House in the first week of its release.
Britpop had reached its peak, but Blur was moving on, into the sonically scuffed territory of the Blur (1997) album and another monolithic single, Song 2. Albarn and Coxon were back on the same page, as the destabilizing lunacy of Britpop’s 24-7 maelstrom subsided, and Blur’s continued exploration of the recording studio culminated in 13 (1999), their most experimental incarnation since the deconstructions of Seymour. Tender and No Distance Left to Run saw a rueful Albarn sifting the rubble of his eight-year relationship with Elastica singer Justine Frischmann while the record’s pop hit Coffee & TV, was sung by Coxon.
Combustible, like all creative combinations, Blur could sometimes take their differences out on each other but on stage their cocktail of personalities made for spectacular pop events, whether they ended with the band maced by security or the enraptured singalong that accompanied 1994’s Glastonbury set-closer, This Is A Low. And although that volatile chemistry has ensured a hiatus since 2002 – when the band completed the alternately touching and funky Think Tank album (2003) minus Graham Coxon - it also produced that record’s most ravishing song. “You can be with me if you want to be,” goes album closer Battery In Your Leg, as Graham’s guitars shimmer exquisitely. “This is a ballad for the good times…”
Almost exactly 20 years since the formation of Seymour, Blur have reconvened. Let the good times roll.
“It’s fantastic to get my old friend back.” Damon Albarn, 2008.
What they’re doing when they’re not being Blur…
Alex James’ musical projects outside of Blur have included Me Me Me (with Stephen Duffy) and Fat Les, makers of 1998’s Number 2 hit Vindaloo. He has written music with Marianne Faithfull, Sophie Ellis Bextor and the legend that is Betty Boo. A prolific writer for newspapers and magazines, he lives on a farm in Oxfordshire, and is the author of Britpop memoir A Bit of A Blur.
Dave Rowntree runs his own computer animation company, Nanomation, and has directed episodes of Channel 4 TV comedy series Empire Square. A Labour party member and activist, he is the party’s prospective candidate for the Cities Of London & Westminster constituency at the next General Election.
Graham Coxon is the founder of Transcopic Records and the author of six solo studio albums – The Sky Is Too High (1998), The Golden D (2000), Crow Sit On Blood Tree (2001), The Kiss Of Morning (2002), Happiness In Magazines (2004) and Love Travels At Illegal Speeds (2006) – finding time to co-write a 2007 single with Paul Weller, This Old Town, and collaborate on 22 Dreams album track Black River. His artworks, adorning the covers of records by Blur and Kate Rusby, have been exhibited at the ICA and elsewhere.
Damon Albarn partners artist Jamie Hewlett in virtual band Gorillaz, creators of the multi platinum selling Gorillaz (2001) and Grammy-winning Demon Days (2005) albums. Other musical adventures have included Mali Music, Democrazy, The Good, The Bad & The Queen, soundtracks to the films Ravenous and 101 Reykyavik and a multimedia opera in Mandarin, Monkey: Journey To The West. He is heavily involved with the cross-pollinating musical revue Africa Express, and has contributed songs production and performances to records by Tony Allen, Ray Davies, Massive Attack, Fatboy Slim and Amadou & Mariam.
Music video by Blur performing Song 2.
Blur Audio CD from Amazon.com
Scanning the track listing of this album, it's hard not to conclude that Blur aren't a little embarrassed by their early work. Opening with the chart one-two of "Beetlebum" and "Song 2" (from their eponymous 1997 watershed album) rather than the baggy groove of their debut single, "She's So High," it's apparent that they desire to accentuate their more recent efforts. Running order aside, it's hard to fault the 18 songs which chart the life and times of one of Britain's smartest, most inventive bands. From the tuxedoed ballad "The Universal" through the cartoon Brit-pop of numbers such as "Parklife" and "Country House" to the freshly recorded indie-influenced "Music Is My Radar," their searching intelligence and deft hooks are never less than admirable. --Mike Pattenden
Until this album, Blur was just another English dance-pop band recycling '60s guitar licks and that tired Manchester beat (dugga-dugga-cha, dugga-dugga- dugga-cha). But Modern Life is Rubbish turned out to be the weirdest and most endearing head-rock album since the Flaming Lips' Transmissions from the Satellite Heart. The 17 songs revel in strange chord changes, bizarre sound effects, off-kilter beats, gonzo lyrics, and English eccentricity, bringing to mind Ray Davies, Syd Barrett, and Julian Cope jamming together under the influence of what Blur calls the "Chemical World." Songs like "Colin Zeal," "Pressure on Julian," and "Sunday Sunday" boast killer hooks amid the chaos, making Modern Life Is Rubbish valuable trash indeed. --Jim DeRogatis
You'd have to stretch back to 1967 to London's psychedelic underground (a time and a place that Blur is admittedly fond of) to find a band that revels as much in its Britishness. And on its third album, Blur takes 30 years of cool English rock, throws it into an art-punk Cuisinart, and ends up with a masterpiece of timeless hooks and Cockney attitude. Like the Kinks at their satirical best, Blur paints warm and funny portraits of quintessentially English characters ("Tracy Jacks," "Parklife," "The Debt Collector"), delivering them with early Small Faces swagger, wiggy Syd Barrett-via-Julian Cope production, XTC circa "Respectable Street" vocal hooks ("ooh-we-ooh"), and a cynical Buzzcocks detachment. The band members are mods, of course, borrowing fashion tips from the pre-glam David Bowie, tempos from the Jam, and actor Phil Daniels (the star of Quadrophenia!) for a vocal cameo. "Magic America" is the best bored with the U.S.A. song since the Clash, Stereolab's Laetitia Sadier sings backing vocals, the Pet Shop Boys remixed the single, and the members of Blur love Wire so much that they hired that band's old road manager. But enough namedropping: Parklife is the album on which Blur proves that it's a force to be reckoned with on its own terms, described by front man Damon Albarn as a nocturnal travelogue of London; the only time the album leaves the Motherland is on its lead track, the unbearably catchy single, "Girls & Boys," which follows randy English youth on holiday to Greece. --Jim DeRogatis
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Anyway when I first put up the links to other site list widget on my home page so I could let people go to related sites it seemed to work fine. Then I did blogs I am following list widget on my home page also and those links worked fine as well. But now none of my recommended link list work or connect to those sites any longer.