![]() ![]() The group redeems itself artistically in such peripheral episodes as the exotic orchestral undercurrent of To The End or the marching band instrumental of Debt Collector or the Devo-esque dementedness of Trouble In The Message Centre. Elsewhere the spectres of pedantic songwriters a la Elvis Costello and Joe Jackson ( London Loves, Clover Over Dover) surface. 1 in the UK charts, is an almost perverse exercise in retro, bordering on parody, beginning with the single Girls & Boys (yet another variation on Wire's I Am The Fly motif), the quintessence of their (deliberate or not) farcical musichall stupidity.ĭavid Bowie's dramatics exert a strong influence on the album, as Jubilee also demonstrates. That of Parklife (SBK, 1994), which debuted at No. ![]() ( For Tomorrow, and above all Chemical World).Īmateurish and derivative, this album simply proved that Blur had little or Modern Life Is Rubbish (Food, 1992 - (SBK, 1993),Ī decisive shift towards the more robust sound of the Who and the Kinks The (more virulent) single Popscene led to the second album, ![]() Half-baked rock and roll numbers that "would" make reference to the Whoīlur were yet another Brit-pop band that has nothing to say but they said it Slightly more aggressive blues and soul shuffles of There's No Other WayĪnd I Know, but too often they stumble on The band can be more entertaining with the Paisley Underground), but it is also terribly tedious. Is actually not completely epigonic (other than drawing inspiration from the The languid, mellow, flowery, affected psychedelia of She's So High The songs are generic imitations of the original models, With the album Leisure (SBK, 1991) Blur tried shamelessly to speculate These are unimaginative songs that merely repeat rock music stereotypes (in the best cases Byrds, Pink Floyd, Jimi Hendrix). Their main merit is that they sang melodic choruses, as millions of them did around the world, when the British record industry was promoting that genre around Europe.īlur came to prominence with the October 1990 hit She's So High, endowed with a slow, enveloping melody, followed closely by There's No Other Way, far more upbeat, with an almost Southern boogie rhythm and riff, and Bang, equally crackling but more languidly Merseybeat. With Oasis, they were the most overrated band in that genre. (Translated by DeepL from my original Italian text)īlur emerged among the leading lights, for better or worse, of Brit-pop in the 1990s. Graham Coxon: The Spinning Top (2009), 4/10ĭamon Albarn: Everyday Robots (2014), 4.5/10 Graham Coxon: Love Travels At Illegal Speeds (2006), 6/10 Graham Coxon: Happiness in Magazines (2004), 5/10 Graham Coxon: Crow Sit On Blood Tree, 4/10 ( Copyright © 1999 Piero Scaruffi | Terms of use) Blur: biography, discography, reviews, ratings ![]()
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