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Blur (band)

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Blur

Blur are an English rock band formed in Colchester in 1989. Originally named "Seymour", Blur became one of the biggest bands in the UK during the Britpop movement of the mid-1990s.[1] The band are currently comprised of vocalist/keyboardist Damon Albarn, drummer Dave Rowntree and bassist Alex James.

Blur's original influences on their debut album, Leisure (1991), included contemporary British alternative rock trends such as Madchester and shoegazing. Following a stylistic change in the mid-1990s, influenced by classic English pop groups such as The Kinks, The Beatles and The Who, the band released Modern Life is Rubbish (1993), Parklife (1994) and The Great Escape (1995). As a result, the band helped to popularise the Britpop genre and achieved mass popularity and acclaim in the UK, aided by a famous chart battle with Britpop rivals Oasis. By the late 1990s, with the release of their fifth album, Blur (1997), the band again underwent another reinvention, influenced this time around by the indie rock and lo-fi style of American bands such as Pavement and R.E.M., in the process gaining an elusive American success with the single "Song 2". The final album featuring the band's original lineup, 13 (1999), found Blur experimenting with electronica and gospel music.

In 2002, founding member and former guitarist Graham Coxon left the band early in recording sessions for Think Tank (2003), the band's seventh and latest album. Blur continued in his absence, seeing both the album and a tour through. Since the end of their 2003 tour, the band has unofficially been on hiatus, as bandmembers are working on solo projects. Although Coxon had shown no interest in rejoining Blur, in recent months he has reportedly warmed to the idea, leading unconfirmed reports of his return to Blur to surface late in 2006. [2]

History

(1989–1992) Formation and breakthrough

In spring 1989, vocalist Damon Albarn, guitarist Graham Coxon and drummer Dave Rowntree, classmates at London's Goldsmiths College, formed "Seymour", whose name was taken from J.D. Salinger's Seymour: An Introduction, which Albarn was reading at the time. [3] Known in the Colchester underground scene as an art rock band, the band quickly gained underground popularity with their live shows. In summer 1989, Seymour, with the new addition of bassist Alex James, sent a demo containing early versions of songs such as She's So High and Dizzy[4] to indie label Food Records' A&R man Andy Ross. Ross, impressed by the band, signed them in March 1990. However, after some pressure from Food, Seymour changed their name to "Blur".

From March to July 1990, Blur toured the UK, testing out new songs. After their tour was over, Blur released She's So High in October 1990, which made it into the Top 40. Following the success of their first single, Morrissey producer Stephen Street contacted the band to produce their debut album. The band agreed, beginning a successful partnership that would last nearly a decade. The follow-up to "She's So High", "There's No Other Way", became a hit. Both singles were included on Blur's debut album, Leisure, which was received positively mainly because it fit into both the dying Madchester craze and the shoegazing-domnated London scene dubbed "The Scene That Celebrates Itself". However, some journalists and music critics dismissed the band as manufactured teen idols,[5]a title which Blur struggled to disprove throughout the next two years.

During a tour of America to promote Leisure, the band became increasingly unhappy, often venting frustrations on each other, leading to several violent confrontations. The band began to formulate the idea of an album directed against American culture, which Albarn considered naming "England vs. America",[6] on which they began work upon their return to the UK. Although Andy Partridge was originally slated to produce the follow-up to Leisure, his relationship with the band soon deteriorated and Street was finally brought in again to produce the album. Under his guidance, the band relinquished, to a degree, their original purpose of attacking American culture, changing the name of the album to Modern Life is Rubbish, reportedly taken from graffiti Albarn saw on London's Edgware Road.[7] Finally, after nearly a year in the studio, the band delivered Modern Life Is Rubbish to Food.

(1993–1995) The Britpop years and height of fame

"Popscene", the first single from Modern Life is Rubbish, has in retrospect been cited as a turning point for the band musically and the beginning of Blur's cultural crusade of British pride[8] but when released, charted at #32 and was dropped from the album. However, Food were ready to release the record when 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 would become the album's lead single.[9] The record was finally released in May in Britain and later in 1993 in the U.S. Often cited as the first Britpop album,[10] Modern Life Is Rubbish was welll received in Britain, peaking at number 15 on the British charts, yet it did not make much of an impression in the U.S.

Blur's 1994 follow-up, Parklife, finally became their commercial breakthrough. Influenced by East End culture and Martin Amis' London Fields,[11] Parklife entered the British charts at number one, catapulting the band to fame in their home country. In Britain Parklife reaped Blur a string of hit singles, including the ballad "To the End", the dance-pop single "Girls & Boys", and the mod anthem "Parklife", which featured narration by Phil Daniels, the star of the film version of The Who's Quadrophenia. Girls & Boys entered the UK charts at number five, and managed to spend 15 weeks on the U.S. charts, peaking at number 52, but Parklife never cracked the American Top 40.

File:Blurparklife.jpg
Blur in their 1994 video Parklife

By the beginning of 1995, Parklife had gone triple platinum in the UK. Blur spent the first half of 1995 recording their fourth album and playing occasional concerts, including a sold-out stadium show. In February, Blur received a record four awards at the Brit Awards, for best album, best single and best video for the single, Parklife, and best British group.

On August 14, 1995, Blur released their new single, "Country House". Originally slated for release on August 21, Albarn had requested the single's release moved up to compete with the release of "Roll With It", the new single from Blur's rivals, Oasis - sparking the much hyped "Battle of Britpop". Blur's "Country House" ultimately outsold Oasis's "Roll With It" 274,000 copies to 216,000 during the week. The strategy backfired, however, as even though the band won the battle, they ultimately lost the war, as Oasis became Britain's biggest band at the time with their second album, (What's the Story) Morning Glory?, overshadowing Blur's fourth The Great Escape. While The Great Escape entered the UK charts at number one and earned overwhelmingly positive reviews, it did not sell as well, and by the end of 1995, Blur were seen as has-beens. This perception was cemented by their failing to make an impression on the American market, in contrast to Oasis.[12]

(1996–1999) Reinvention, Blur

Struggling under negative press attention and a loss of popularity, Blur nearly broke up in February 1996, following a violent scuffle between Coxon and Albarn. The band took a brief hiatus between the end of their tour in March and the beginning of new recording sessions, which would begin in summer 1996 and end in winter of the same year. By the end of recording sessions, relations in the band had improved[citation needed] to the point that by December, the album had been easily mixed and mastered.

By the end of 1996, Albarn's musical interests had changed from British pop to American alternative rock and lo-fi, influences which dominated[13] Blur's eponymous fifth album, Blur, released in February 1997, received the kind of acclaim which had not been seen by the band since Parklife. The album exemplified the band's incorporation of American lo-fi and indie rock into their Britpop sound, a musical evolution which came as a stark contrast to the much-criticized[14] third album Be Here Now by former rivals Oasis.

However, the band's reinvention didn't initially earn them praise in the UK; the album and its first single, "Beetlebum" debuted at number one but quickly fell down the charts as the group's fanbase, for the most part, rejected their reinvention.[citation needed] However, in the U.S., the record received strong reviews as the album and its second single "Song 2" became a large hit, helped by its popularity as an anthem at hockey games.[15] The album reached #61 on the Billboard Top 200 chart and achieving gold status in December of that year, while "Song 2" peaked at #6 on the Modern Rock chart. The song's extended popularity in America also has branded Blur a one hit wonder there.[citation needed]

The album wasn't making much of an impression in Britain until autumn 1997, as critics, fans and press were paying more attention[16] to Radiohead and The Verve's OK Computer and Urban Hymns. Finally, by late 1997, the album caught on in Britain, reaching #1 on the UK albums chart. After the massive worldwide success of Blur, the band embarked on a worldwide tour, famously selling V97 out.[17] The tour wound around the world, through America and Australia, where Blur had become enormous. Finally, at the conclusion of their tour, the band surprised with their announcement that they were giving touring up for the foreseeable future.[18] The band also decided to take a different approach to their next album, and so parted ways with long-time producer and collaborator Stephen Street, who had helped immensely in establishing the band as one of the biggest bands in the UK. In January 1998, Blur was nominated for four awards at the annual Brit Awards.

File:Blurcoffeetv.jpg
Three members of the band in the music video for Coffee and TV.

With Stephen Street gone, Blur was in need of a producer, a gap which they resolved by hiring William Orbit (Madonna, Seal). As a result, Blur's 1999 album 13 was musically dominated by Orbit's electronic production.[citation needed] 13 was preceded by the single Tender, which marked a new era of sonic experimentation for Blur, with its mix of gospel music and electronica. The album spawned another hit single, Coffee & TV, which gained Blur cult status in America[citation needed], largely thanks to its music video, which featured the enigmatic protagonist "Milky". Graham Coxon had even bigger artistic input on 13, contributing vocals to some of the songs, including Coffee & TV and No Distance Left to Run, and designing the album cover. Although Blur's songwriting had taken a darker turn, the album was received very well, although not as well as their earlier Britpop records.

(2000–2003) Hiatus, return with Think Tank

Exhausted by incessant recording and touring through the world, the band took a hiatus, pausing only to release a box set of singles in August 1999 to celebrate their 10th anniversary. For a couple of years, members of Blur engaged in a variety of side-projects around this time: Coxon made a number of solo albums, Alex James joined actor Keith Allen and artist Damien Hirst to form Fat Les, while Albarn formed the cartoon supergroup Gorillaz. Albarn also travelled to Mali on behalf of Oxfam, producing the fundraising album Mali Music. Early in 2002, however, Blur temporarily broke their hiatus to record a song that would be played for the European Space Agency's Mars Lander, however, the plan fell through when the lander was lost.[19]

File:Blur Best Of.jpg
Cover of the album Blur: The Best of.

Recording for Blur's next album, Think Tank, got under way in Marrakesh, Morocco in mid-2002. Tensions surfaced, however, when Coxon began to appear emotionally and creatively distant to his bandmates, and reportedly failed to attend recording sessions. One of the main causes for this has been cited as the choice of Norman Cook (dance DJ Fatboy Slim) as the sessions' producer. After several weeks of rumour and uncertainty, Coxon confirmed that he had been asked to leave the band for reasons connected with his "attitude."[20] His last contribution to the band was a guitar line on the final track of Think Tank, "Battery in Your Leg" which Albarn said was the only song he ever wrote about the band.

Before the album was released, Blur released a new single, Don't Bomb When You're The Bomb as a very limited white label release. A largely electronic song, sporting a chorus consisting of "Don't bomb when you're the bomb-ba-bomb-bomb-bomb" the single and the band's startling reinvention was a shock to Blur fans, who were expecting a return to the catchy pop tunes of the band's early career. [21] Albarn, however, attempted to assuage fans' fears by explaining the impetus behind the song and providing reassurances that the band's new album would be a return to their roots:

"I feel there's so much misconception surrounding Arabic culture in general....It (the song) forces people to consider that issue, which for me is one of the most pressing issues of our time — a cross-cultural understanding......It (Think Tank)'s definitely a rockin' record. It goes from punk rock to hip-hop to prog rock. Two tracks we've already finished doing with Norman (Fatboy Slim) are amongst the most rock-oriented tracks we've ever done. He's a devotee of the Clash, and I love the Clash, and that was where our tastes met." [22]

In the end, Think Tank, released in May 2003, was filled with atmospheric, brooding electronic sounds, partially inspired by Albarn's work with Gorillaz. As the album was largely recorded after Coxon quit the band, it features simpler guitar lines played by Albarn and looped, largely relying on Blur's rhythm section, backing vocals and other instruments (such as a Moroccan orchestra on some songs) to fill the void. Coxon's absence also meant that Think Tank was almost entirely written by Albarn. Its sound was seen as a testament both to Albarn's increasing interest in African and Middle Eastern music and electronica, and to his control over the group's creative direction.[23]

While Think Tank received generally enthusiastic reviews (notably from Rolling Stone, Q, and Spin magazines), a minority of critics, including the All Music Guide, didn't warm to it. However, Think Tank was yet another UK #1 and managed their highest US position of #56. The album was also nominated for best album at the 2004 Brit Awards. The band supported the album with a tour and three singles: "Out of Time, "Crazy Beat" and "Good Song". For a guitarist on the tour, the band hired former Verve guitarist Simon Tong.

(2004–present) Solo projects and possible reunion

Although the band intimated that they might record a new album in 2004, this never materialised, so in recent years all three remaining members have devoted their energy to solo projects. In the meantime, Graham Coxon rekindled his relationship with Stephen Street, to craft his most successful and accessible solo albums to date Happiness in Magazines (2004) and Love Travels at Illegal Speeds (2006).

Albarn released a follow-up Gorillaz album Demon Days in May 2005, which received significant praise, and was supported by the Demon Days Live in Manchester shows. In early 2006, Gorillaz received a Grammy, for "Best Pop Collaboration With Vocals" for the song "Feel Good Inc". In late July 2006 Albarn announced the formation of a band, The Good, the Bad and the Queen. The band, a collaboration with former Verve guitarist Simon Tong, Clash bassist Paul Simonon, and drummer Tony Allen, released their eponymous debut in January 2007.

Alex James began working with pop singer Betty Boo in the band WigWam. They released the single "WigWam" in April 2006 and are currently working on their debut album. Dave Rowntree set up the animation company Nanomation, which produced the South Park-esque Empire Square, shown on Channel 4 in early 2005. He is also drummer, and occasionally instrumentalist and vocalist for The Ailerons [21], who are reportedly working on their debut album.

Although Albarn has said that the door is always open for Coxon to return, a reunion of the original Blur line-up did not seem likely in the foreseeable future, particularly given the success of the guitarist's solo career since his departure and the band's relative inactivity. Albarn stated in a 2006 Q interview that he is still dedicated to Blur, but reluctant to tour without Coxon. Alex James has commented that he is hopeful to persuade Coxon to come back to Blur, and that he feels their best work is still to come. In a BBC interview the following month, James confirmed that he and Coxon had recently met up for the first time in a year and discussed reuniting; he described Coxon as "coming round to the idea" of rejoining the group. [24] Early in 2007, the NME also reported a possible reunion, although hinting that it may, in fact, be for a final album.[25]

Discography

Main article: Blur discography

Audio samples

Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end

References

  • Harris, John. Britpop!: Cool Britannia and the Spectacular Demise of English Rock, 2004. ISBN 0-306-81367-X
  • Harris, John. "Modern Life is Brilliant!" NME. January 7, 1995.
  • Live Forever: The Rise and Fall of Brit Pop. Passion Pictures, 2004.

Notes

  1. ^ BBC News: Entertainment: Are we in Britpop's second wave? [1]
  2. ^ NME. January 7, 2007. Blur reunion gets closer. [2]
  3. ^ Angelfire.com: Blur FAQ [3]
  4. ^ VBlur page: The History of Blur: 1989-1991. [4]
  5. ^ Modern Life is Rubbish: The Rise and Fall of Britpop. [5]
  6. ^ Harris, pg. 80
  7. ^ BBC - Music Profiles: Blur. [6]
  8. ^ Harris, pg. 67, 77
  9. ^ Harris, pg. 82-83
  10. ^ George Starostin's Reviews: Blur. [7]
  11. ^ Eaton-Terry. Blogspot. [8]
  12. ^ The Guardian Unlimited: Arts. Years pass in a blur... [9]
  13. ^ The Good, The Bad, and The Queen. Official site. Damon Albarn Biography. [10]
  14. ^ Seattle Weekly. Music Notes. March 1998. Oasis's cruise control [11]
  15. ^ The Scene: Blur and Graham Coxon. [12]
  16. ^ Britpop:Encyclopedia II-History. [13]
  17. ^ VBlur page. The History of Blur 1995-1997. [14]
  18. ^ see above link
  19. ^ Blur song on Mars Rover. [15]
  20. ^ The Observer. September 21, 2003. Special Relationships. [16]
  21. ^ History of Blur. [17]
  22. ^ MTV News. Blur to Rock for World Peace. [18]
  23. ^ VH1.com - Artist Profile: Blur. [19]
  24. ^ Coxon may rejoin Blur [20]
  25. ^ See first NME reference
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